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Drum & Percussion Microphones — Buy at SoundsGood
Drum and percussion microphones — specialised mics and kits for amplifying and recording drums and percussion. From compact rim-mount dynamics for toms to dedicated kick mics with boosted sub-bass and condenser overheads for natural cymbal sound. Ready-made 5–8 mic kits or individual models for each element. SoundsGood offers drum microphones from leading brands — for stage, studio, and rehearsal room.
Full Kit Coverage
Kick, snare, toms, overhead
Kick, snare, toms, overhead
Free Shipping
Orders over ₴4,000
Orders over ₴4,000
Installment Plans
PrivatBank / monobank
PrivatBank / monobank
Expert Advice
Matched to your needs
Matched to your needs
🥁 Drum Miking: Principles
A drum kit is a complex ensemble ranging from kick sub-bass (30–80 Hz) to bright cymbals (5–20 kHz), from a quiet ghost note to 130+ dB SPL hits.
🎯 Close Miking
A separate mic on each drum (2–10 cm). Maximum control when mixing. Dynamic mics — the standard. Rim-mount clips. For stage and studio.
🔊 Overheads
A pair of condensers above the kit. Capture cymbals, overall balance, room "air". SDC — the standard. Stereo techniques: AB, XY, ORTF, Recorderman. Often the foundation of the drum sound.
🏠 Room Mic
1–2 mics 1–5 m from the kit. Capture the room, add depth and "glue". LDC, ribbon, or dynamic. Compressed room mic — a rock classic. In the studio — often the most important mic.
🔈 Kick Drum Microphones
The kick is the rhythmic foundation.
📐 Dedicated Kick Mics
Large dynamic capsule optimised for sub-bass (30–80 Hz) and attack (3–5 kHz). Often with built-in EQ. Placed inside through the port hole. SPL: 160+ dB.
📐 Boundary / PZM
Flat mic lying inside on the pillow. Uses internal reflections. Compact. Integrated "attack + body" character. Some mount on the port hole.
📐 Sub-kick / Outside
A second mic outside the kick for sub-bass (20–80 Hz). LDC, dedicated sub-kick, or NS-10 woofer. Blended with the main kick mic. For studio — adds power.
🔊 Snare Drum Microphones
📐 Top
Compact dynamic, 2–5 cm from the head. Bright, punchy. Cardioid. Rim-mount clip or stand. SPL: 150+ dB. Some have a built-in HPF to reduce kick bleed.
📐 Bottom
Under the snare, aimed at the snare wires. Captures the sizzle and rattle. SDC or dynamic. Phase inverted on the console — mandatory. For studio use.
🎯 Tips
Live: top only. Studio: top + bottom. Closer to centre = more body; closer to rim = more overtones and ring. Angle 30–45° from the head.
🔉 Tom Microphones
📐 Design
Compact dynamics with rim-mount clips. Short body — stays out of the drummer's way. Supercardioid for isolation. 2–5 cm from the head.
📊 Specifications
Frequency: 50–15,000 Hz. SPL: 150+ dB. Supercardioid / hypercardioid. Universal clip (fits various hoop diameters). Weight: 50–150 g. Kits: 3 mics (high, mid, floor tom).
🎯 Best For
Individual tom control when mixing. Live — standard in any pro rider. Studio — overheads can suffice, but close mics give more control. Floor tom often needs its own mic (lower, more bass).
🎵 Overhead Microphones
Overheads are the most important pair for a natural drum sound.
📐 SDC (Pencils)
Matched pair. Cardioid. 60–120 cm above cymbals. Bright, detailed cymbals + natural overall balance. Phantom +48 V. The go-to for 90% of applications.
📐 LDC
Large diaphragm — warmer, "bigger" sound. More cymbal body, less harshness. For rock, pop. Often multi-pattern.
📐 Ribbon
Natural cymbals without harshness. Gentle HF roll-off. Blumlein pair — the reference. For jazz, blues, vintage rock. Studio only. Quality preamp required.
🎶 Hi-hat & Cymbals
🔷 Hi-hat
SDC, 10–15 cm above. Cardioid / supercardioid (minimise snare bleed). Live — usually not needed. Studio — for mixing control.
🔷 Ride & Crash
Usually captured by overheads. Separate mics for very large kits or maximum studio control. SDC, 15–20 cm above.
🎯 When Needed
Studio: hi-hat — often, ride — sometimes. Live: usually not. Large kits: extra spot mics on key cymbals.
🪘 Percussion Microphones
🔷 Cajón
Dynamic at the rear sound hole — bass. SDC in front — attack. Combination of both. Some with built-in mount. 5–15 cm.
🔷 Conga, Bongo, Djembe
Dynamic or SDC, 10–20 cm above the head. Close — dynamic (survives hits). Natural — SDC at 20–40 cm. Clip-on for stage.
🔷 Tambourine, Shaker
SDC, 15–30 cm. High sensitivity. Cardioid. One SDC above a percussion group.
📦 Drum Mic Kits
📦 3–4 Mics
Minimal setup: kick + snare + 1–2 overhead. Small stages, beginners. Budget.
📦 5–7 Mics
Standard: kick + snare + 2–3 toms + 2 overhead. Rim-mount clips included. Case. The most popular format. For live and studio.
📦 8–10+ Mics
Full professional: kick (in+out) + snare (top+bottom) + 3 toms + 2 overhead + hi-hat + room. Large studios and premium tours.
📊 Comparison by Element
| Element | Mic Type | Pattern | Distance | SPL | Mount |
|---|---|---|---|---|---|
| Kick (inside) | Dynamic (dedicated) | Cardioid | 5–15 cm from beater | 160+ dB | Stand / cradle |
| Kick (outside) | LDC / sub-kick | Cardioid / omni | 0–10 cm from head | 130+ dB | Stand |
| Snare (top) | Dynamic | Cardioid | 2–5 cm | 150+ dB | Clip / stand |
| Snare (bottom) | SDC / dynamic | Cardioid | 2–5 cm | 140+ dB | Stand |
| Toms | Dynamic (compact) | Supercardioid | 2–5 cm | 150+ dB | Rim-mount clip |
| Overhead | SDC (matched pair) | Cardioid | 60–120 cm | 130+ dB | Stand / boom |
| Hi-hat | SDC | Cardioid / super | 10–15 cm | 120+ dB | Stand |
| Room | LDC / ribbon / dynamic | Various | 1–5 m | 120+ dB | Stand |
| Stereo Technique | Description | Character | Best For |
|---|---|---|---|
| AB | 2 mics 60–120 cm apart | Wide stereo, natural | Rock, pop, general |
| XY | 2 mics at 90–120° at one point | Narrow stereo, mono-compatible | Live, phase-critical |
| ORTF | 2 mics at 110°, 17 cm apart | Natural, realistic stereo | Classical, jazz |
| Recorderman | 2 mics equidistant from snare & kick | Balanced, phase-coherent | Rock, pop (minimal setup) |
🎯 How to Choose
🎤 Live Sound
5–7 mic kit: kick + snare + 2–3 toms + 2 OH. Dynamic for close, SDC for OH. Rim-mount clips. Budget — all-in-one kit. Pro — individually selected.
🎙️ Studio (Rock/Pop)
7–10 mics: kick (in+out) + snare (top+bottom) + 3 toms + 2 OH + room. Classic models. SDC matched pair. LDC/ribbon room. Room acoustics critical.
🎵 Studio (Jazz)
Minimal: 2 OH (ribbon Blumlein or SDC) + kick + snare. Natural room sound. OH = the foundation. Room mic. Fewer close mics = more "air".
🏠 Home Studio
3–5 mics: kick + snare + 2 OH. Budget kit — great start. Room treatment matters more than expensive mics. Add toms and hi-hat later.
🪘 Cajón
1–2: dynamic at the rear (bass) + SDC in front (attack). Or a dedicated cajón mic. Clip-on / short stand for stage.
🪘 Conga, Bongo
1–2 per pair: dynamic (close) or SDC (natural). Clip-on for stage. Stand for studio.
🎸 Rehearsal Room
Minimal budget kit: kick + snare + 2 OH. For monitoring and basic recording.
🎬 Video (YouTube)
2–4: 2 OH (SDC/LDC) + kick. OH = the foundation. Kick adds punch. Interface with 4+ inputs. Simpler — 1 LDC in front of the kit.
❓ FAQ
How many mics?
Minimum 4 (kick+snare+2 OH). Standard 6–7 (+toms). Full 9–10+. Live — 4–7, studio — 7–10+.
Dynamic or condenser?
Dynamic — kick, snare, toms (SPL, rugged). Condenser SDC — overhead, hi-hat (detail). A kit includes both.
What is in a kit?
Typically 5–7: kick (1) + snare (1) + toms (2–3 with clips) + overhead (2 SDC matched pair). Some with a case.
Why rim-mount clips?
Attach to the hoop — no stand. Save space. Stable position. Standard for toms.
How to mic a kick?
Dedicated dynamic inside through the port hole. Aim at the beater (attack) or further (body). Outside — sub-kick/LDC for sub-bass.
Do I need a hi-hat mic?
Live — no (OH is enough). Studio — yes (SDC, 10–15 cm). More control when mixing.
🏆 Why SoundsGood
Full Selection
Kits, individual, clip-on
Free Shipping
Orders over ₴4,000
Installment Plans
PrivatBank & monobank
Expert Advice
Matched to your needs
Leading Brands
Wide assortment
Showroom in Kyiv
15 Olzhycha St.
Fast Dispatch
Same day before 3 PM
📞 Contacts
✉️ Email
📍 Address
15 Olzhycha St., Kyiv, 04116
Metro: Dorohozhychi
🕐 Hours
Mon–Fri: 11:00 AM – 6:00 PM
Sat–Sun: Closed