Overhead mics for drummers

Best Overhead Drum Mics Selection Methodology

The first edition of the best overhead drum mics was published in 2017.

The small, thin, and long ones are called pencil condensers, while the bulky ones are called large-diaphragm mics.

Apart from the SPL handling difference, the biggest difference between these two types of microphones is the way that you position them.

Small pencil condensers are very easy to place around your cymbals and on a stage.

Notable Insights

• Look for condenser microphones with wide frequency response (20 Hz – 20 kHz) to capture the full spectrum of drum kit sounds.
• Choose microphones with cardioid or super-cardioid polar patterns to minimize bleed from other instruments and focus on overhead capture.
• Ensure your audio interface provides 48V phantom power, as most quality overhead condenser microphones require it to operate.
• Consider matched pairs like the Samson C02 for accurate stereo imaging with sensitivity matched within ±0.5dB between microphones.
• Select microphones with high SPL handling capabilities and switchable pads to manage loud drum transients without distortion.

G7 7-Piece Wired Dynamic Drum Mic Kit (Whole Metal)

The G7 7-Piece Wired Dynamic Drum Mic Kit stands out as the all-encompassing solution for drummers who need complete mic coverage without breaking the bank, delivering everything from kick drum punch to overhead cymbal clarity in one metal-constructed package.

Condenser microphones consistently outperform dynamic mics in this specification, offering superior sensitivity and clarity that’s essential for capturing the subtle cymbal shimmers and ambient room characteristics that make overhead recordings truly shine.

Maximum SPL Handling

When drum kits release their full sonic fury, Maximum SPL handling becomes the make-or-break specification that determines whether your overhead microphones will capture pristine audio or surrender to clipping and distortion.

You should check what the diaphragms are made of and see how durable the microphones are.

Drum microphones need to be the most durable mics, as there’s always the potential of you hitting them with sticks accidentally. The higher it is, the more likely long cables will cause some degradation of the sound, so the goal is to have a low impedance.

I’ve learned the hard way that even the most expensive condenser microphones can crumble under the acoustic assault of a heavy-hitting drummer if they can’t handle the pressure.

The sweet spot I look for is 155 dB maximum SPL, which accommodates even the most aggressive cymbal crashes and snare hits without breaking a sweat.

You can also apply high-pass filtering during recording and ask your drummer to play cymbals more dynamically.

What’s the Ideal Stereo Spacing Technique for Drum Overhead Microphone Placement?

I’ll position my overhead mics using the XY technique for tight stereo imaging or spaced pair method with 3-4 feet between mics for wider soundstage, ensuring equal distance from snare.

Do Overhead Mics Need Pop Filters or Shock Mounts for Drum Recording?

I don’t recommend pop filters for overhead drum mics since you’re not capturing breath or vocal plosives.

The brand has a strong collection of drum kit microphones, and all of them are very easy to work with.

There are two or three overhead mic options, but the sE7s are undoubtedly the most popular. However, they’re still a fraction of the price of all the other high-quality mics on this list. There is no problem in having a little noise and at low levels like 22 dB it won’t be noticeable.

Maximum SPL

High volume, and therefore high vibration sounds, can cause a microphone to distort.

When looking for drum kit mics, you need to get ones with very high SPL levels.

Drum kits can produce up to 130 decibels, so you need to get microphones with SPL numbers that are higher than 130.

All the microphones that I’ve listed above have high SPL ratings, so you’ll be safe with any of them, but keep this aspect in mind if you choose to get other microphones to use as overheads.

Condenser microphones with small diaphragms tend to have the highest SPL handlings, whereas large-diaphragm condensers have slightly lower SPL handlings.

Body Shapes

As I mentioned earlier, you get two main body shapes for overhead drum microphones.

These things have stood the test of time, and they remain just as competitive in the market as they did when they were released.

They offer everything you need from a good pair of overhead drum mics.

It just depends on what overhead you’re using for that. This refers to how much volume the microphones can take before they start distorting and sounding ugly. However, it’s good for new drummers to learn how to mix properly, so that’s another reason why getting affordable mics is a better option.

If you’re experienced with microphones and mixing, you should aim to get the best overhead microphones that you can.

Drum Mics vs General Mics

You’ll find that some microphones are advertised as drum kit mics, while others are advertised for a variety of purposes.

You’ll appreciate its rugged all-metal body that withstands countless studio sessions, while the lightweight half-inch true condenser diaphragm delivers the clarity and transient response essential for capturing cymbal shimmer and snare crack. While these things aren’t cheap, they’re a lot more affordable than the top-tier microphones out there, yet they act very similarly.

There are so many features to mention about these mics that make them as good as they are, and all the features work together wonderfully to make these work brilliantly as overhead drum mics.

My favorite feature is the transformerless preamp in each mic.

Cardioid patterns are common. You’ll get dedicated kick, tom/snare, and overhead condenser mics with mounting hardware, covering your entire kit’s frequency spectrum from 15 KHz down to those satisfying low-end thumps. It will only affect you if you have weak microphone stands, though.