Best Drum Mic Kits for Recording Drums (and the Mics I Actually Use)

I use an SM57 on top of my snare and a Beta 52A outside my kick (right near the port hole, which you can see in the featured image of this guide). Those are two of the least complicated recommendations I can make because both microphones are durable, familiar and easy to use on more than one source.

The three SM57s can cover snare and toms, but they do not have to be used only as close mics. Put the Beta 52A on kick, one SM57 on snare and the remaining two SM57s overhead for a complete stereo recording with four microphones.

The included A56D mounts attach the SM57s to drum rims when you use them as close mics, which reduces the number of stands around the kit. They're a bit clunky when used this way, which is why I prefer the Sennheiser e604s on toms. More on that later. A four-mic setup will need stands for the Beta 52A and two overhead SM57s.

That simple kick, snare and stereo-overhead layout can capture the whole kit without close-miking every tom. It also teaches you to balance the drums at the source instead of relying on a separate microphone for every shell.

Tip: if you are using a simple four-mic setup but still want a big studio sound, you can hand place tom samples in your DAW later on from the transients captured by the overheads. It's tedious, but you can make it work!

If you later want more detail and body from the overheads, affordable options such as the Behringer C-2 pair can get you started. They sound a little thin to my ears, but they are a reasonable first pair if you do not need much body from those channels. I prefer the Rode M5 as the next step, followed by the Warm Audio WA-84 and then my Soyuz 013 FETs.

The package does not include XLR cables, and the SM57s are not purpose-built overhead microphones. Using two of them overhead also means giving up close mics on the toms.

A drummer who wants kick, snare, three close toms and stereo overheads at the same time will need a larger package or additional microphones.

The four e604s are the main reason this package stands out to me. I use them on toms because they clip directly to the rims, take up very little space and are easy to position without surrounding the kit with stands.

They are also much more versatile than the tom-mic label suggests. I sometimes use an e604 on snare in clubs when I do not want to bring out another stand and work it between the cymbal and hi-hat hardware.

The e604 has a compact body that stays close to the shell. That matters when cymbals sit low, space is tight or you simply want to avoid putting another stand around the kit.

Four e604s can cover a snare and three toms in this package, but they are not locked into those positions. Their clip-on design makes them useful problem solvers for live gigs and recording setups where a conventional stand is inconvenient.

The two e614s provide purpose-built stereo overhead coverage, while the e 602-II handles kick. My own setup uses separate inside and outside kick mics, but one well-placed microphone is enough for many recordings and uses one fewer interface input.

At $1,099, the e 600 costs more than twice as much as the Shure foundation. It also does not list XLR cables, so seven cables and two overhead stands need to be included in the budget.

The package includes only one kick microphone. Buyers who want separate inside and outside kick channels will need another mic and another interface input.

I have used the Audix i5, and it is a legitimate SM57 alternative for snare and other loud sources. My experience with that microphone should not be read as a test of the whole DP7X package, but its place in the set makes sense.

The two D2s handle rack toms while the D4 covers the floor tom. That arrangement is meant to give the larger drum more low-end weight instead of asking the same microphone to cover every tom.

The D6X provides Deep, Balanced and Natural settings. In plain language, the switch changes how much low end and attack the kick microphone emphasizes, so you can alter the starting sound without changing microphones or relying entirely on EQ later.

That flexibility is useful when the same set records different kick drums or styles. It also makes the Audix the most adjustable kick setup among the complete packages in this guide.

Four D-Vice mounts attach the close microphones to the drum rims and keep the footprint compact. The two ADX51 condensers cover stereo overheads, completing the basic seven-mic layout.

The DP7X costs $1,229 before cables and overhead stands. Its purpose-shaped close microphones may also be less appealing to someone who wants a more neutral starting point and plans to make most tonal decisions during mixing.

Like the Sennheiser, it includes only one kick microphone. Recording separate inside and outside kick channels requires another mic and another interface input.

The lineup includes a PGA52 for kick, a PGA57 for snare, three PGA56s for toms and two PGA81 condensers for overheads. Each microphone has a clear position, which makes the first setup easier for a drummer who does not want to build a collection one model at a time.

I have not used this complete package, so I would not present it as equal to the SM57 and Beta 52A based on a direct listening comparison. Its advantage is coverage and convenience at $659.

Seven included XLR cables can save a meaningful amount on the first purchase. Every microphone needs its own cable and interface input, and those costs add up quickly when a package leaves them out.

Three rim mounts reduce the number of stands required for the toms. You will still need support for the kick, snare and overhead microphones, but the included hardware handles much of the close-mic setup.

The full seven-microphone count also means you need an interface with at least seven microphone inputs. A smaller two-input or four-input interface cannot record every channel separately at the same time.

The zippered case provides less protection than the hard cases included with some competing sets. More importantly, buyers may eventually replace individual PGA microphones with models from the SM or Beta range as their recording needs grow.

There is also no second kick microphone. That is normal at this price, but it is worth remembering if separate inside and outside kick sounds are part of the plan.

The set includes one Q71 for kick, four Q72s for snare and toms, and two C02 condensers for overheads. Four rim clips keep the close microphones compact around the kit.

I have not used the DK707, so this recommendation is based on what the package includes and where it fits in the current market. It is the price-first choice, not a claim that its microphones match the more expensive systems above it.

For a first drum recording, having the right number of microphones can be more useful than buying one premium mic and leaving half the kit uncovered. The DK707 gives a new buyer every basic microphone position in one case.

The hard case is a welcome inclusion at this price. It keeps the microphones together between sessions and offers better protection than a basic soft bag.

The package does not include XLR cables or overhead stands. Add seven cables and the necessary stands to the total before deciding whether it still fits the budget.

This is the package most likely to be upgraded one microphone at a time as the setup improves. That does not make it a poor starting point, but buyers who already know they will record regularly may save money over time by starting with the Shure foundation.

Do not confuse the included Samson C02 overheads with the Behringer C-2 pair I have used. They are separate microphones, and I do not have a firsthand comparison between them.

Condenser microphones are sensitive, powered microphones that can capture fast detail and a wide range of frequencies. Earthworks builds this entire system around that design rather than combining dynamic close mics with condenser overheads like most drum packages.

The compact DM20 microphones mount on goosenecks near the drumheads. That allows precise placement while keeping large microphone bodies and stands away from the player's hands.

The package covers a five-piece kit with stereo overheads in a purpose-built system. Its four RM2 mounts handle the close microphones, and the custom SKB case protects the set in transport.

I have not used the DK7 Gen 2, so it appears here as a researched premium alternative. Its role is to show what a high-end complete system offers, not to suggest that a $2,999 mic package is required for a serious drum recording.

All seven channels need phantom power. Most modern eight-channel interfaces can provide it, but buyers should confirm how phantom power is switched and whether it is available across every input they plan to use.

The price is the obvious barrier. At nearly three times the cost of the Sennheiser e 600, it is hard to justify unless the rest of the recording setup and workload already support that investment.

Cables and overhead stands are also not included. The complete cost will exceed $2,999 once those pieces are added.