We asked Shure Notes readers for article suggestions in a recent survey. We weren’t surprised that you wanted to know more about microphones – tips, tricks, techniques, head-to-head comparisons and advice from the pros. But many – maybe even hundreds of you – wanted to hear more about miking drums. We decided to dust off this drum miking feature from an earlier issue to cover the basics, then, in our next feature, take you to the next level with "how I do it" advice from three of the industry’s most innovative drummers.


In most live sound systems, the drum set is miked with each drum having its own mic. Using microphones with tight polar patterns on toms helps to isolate the sound from each drum.
What's a polar pattern?
It’s possible to share one mic with two toms, but then, a microphone with a wider polar pattern should be used. The snare requires a mic that can handle a very high SPL (sound pressure level) so a dynamic mic is usually the choice. To avoid picking up the hi-hat in the snare mic, aim the null of the snare mic toward the hi-hat. The brilliance and high frequencies of cymbals are picked up best by a flat-response condenser mic.
What's the difference between a dynamic and a condenser mic?