Comparing Drum Microphone Sets: Which Drum Case Is Right for You?
The drums are among the most difficult instruments to record in the world of audio. Recording a drum set is often referred to as the “supreme discipline” of recording. So what does your microphone setup need to include to ensure your recording turns out well?
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by
Felix Jensen
- last edited: 07.09.2026
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Essential Components of a Drum Set
There are hundreds of ways and methods to record a drum set. Each one serves a specific purpose and produces a distinct sound. That’s why it’s difficult to give precise recommendations for choosing specific microphones. However, there are some standards that have stood the test of time.
Overheads
So-called overhead microphones are suspended above the drum set and capture the entire drum set. Many music producers consider these to be the most important microphones in a drum recording. Here, too, there is a wide variety of models to choose from. One type of microphone that is frequently used in professional recordings—both in the studio and on stage—is the small-diaphragm condenser microphone.
These offer a very neutral sound and a wide dynamic range. Compared to dynamic microphones, they are more sensitive and, especially in the high frequencies, offer slightly higher resolution. They also have the advantage of typically being very small, compact, and lightweight. This, of course, makes it much easier to position them over the drum set using a stand.They also differ from other types of microphones in how they work. Unlike dynamic microphones, condenser microphones generally always require a power supply. For this reason, the interface or mixing console you use should always have what is known as phantom power. This supplies the microphone with 48 volts of operating voltage. It’s important to note that only condenser microphones or other microphone types designed for this purpose should be connected to phantom power, because otherwise, damage may occur to a microphone that isn’t suitable for it.
Snare Drum
When it comes to snare drum microphones, every engineer has their own personal favorite. The undisputed king among snare drum microphones is the Shure SM57. For decades, this was considered the standard for miking snares that need to cut through a mix. Today, however, more and more alternatives are emerging. What many of these alternatives have in common, though, is the type of microphone. When it comes to louder genres of music, many turn to the dynamic microphone. These are ideal because, purely due to how they work, they can handle higher sound levels. This makes them perfect for withstanding the loud sounds of a drum recorded up close.Another important feature of these so-called close-up microphones is the polar pattern. This indicates the direction in which the microphone picks up sound. The most commonly used polar pattern is the cardioid. It picks up sound within a medium-sized radius in front of the microphone and attenuates sounds behind the microphone. This helps to isolate the desired sound source somewhat and filter out unwanted background noise or sounds.
Kick Drum
Basically, you can use the exact same microphones for the kick as you would for the snare drum. However, there are essentially two aspects that distinguish dedicated kick microphones from standard dynamic microphones.
First, they are often designed to capture lower frequencies more cleanly. Good bass drum microphones often go down to 30 or even 20 hertz.
The second distinctive feature lies in the frequency response. The frequency response of bass drum microphones is often optimized to boost the lows, cut the lower mids, and emphasize certain highs. This shapes the sound a bit in advance, gives the kick drum more presence, and reduces the amount of work required in post-production.
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The Rehearsal Room Set: t.bone DC1500 (US Variant: Behringer BC1200)
T.Bone is Thomann’s own brand and offers very affordable alternatives to well-known brands. The t.bone DC1500 is no exception. For a price of about 160 euros, the set comes with a total of seven microphones.
- 1x Kick microphone
- 4x snare/tom microphones
- 2x overhead microphones
Each tom/snare microphone also comes with a clamp for attaching it to the drum. The overhead microphones each come with a stand clamp as well.
The only unique feature of these microphones is that they are small-diaphragm condenser microphones. Unusually for this price range, they feature both a high-pass filter, which cuts off low frequencies, and a pad circuit, which reduces the signal by 10 dB.
Despite these features, however, these microphones fall short in terms of sound quality. They aren’t particularly well-suited for miking the entire drum set. If the goal is simply to pick up the cymbals, then they do an adequate job.
I’d also describe the other microphones in the set as adequate. Nothing here that’ll put a smile on your face. “Performance commensurate with the price” is probably the best way to describe them.
Even the clamps aren’t particularly sturdy or well-designed. I wouldn’t have much confidence in their durability, whether it’s the screw connections or the mounting system. So if you’re planning to go on a long tour with this kit, I can only advise against it. But who would this kit be suitable for?
Conclusion on the t.bone DC1500 Drum Case
For people in the USA
t.bone is a brand by the german music warehouse Thomann and it’s not really available for the US. If you consider a drum mic kit in this price range, the Behringer BC1200 is available and very very similar in terms of sound and quality!
If you really feel like getting the t.bone DC1500*, mind, that you can buy it on thomann, but you have to pay tariffs and shipping ontop.
Mid-range price: AKG Drum Session I
- 1x kick microphone
- 4x snare/tom microphones
- 2x overhead microphones
Solid Sound with Surprises
The snare/tom microphones sound exactly as you’d expect for the price. The sound won’t blow you away, but it’s more than possible to get a solid and good-sounding drum sound out of these microphones. It all comes down to your recording experience and the sound of the drums themselves.
The kick microphone also does exactly what it’s supposed to. It’s very easy to position, and when positioned correctly, it sounds very usable and doesn’t really have to hide from the competition.
The surprise of this set is the overhead microphones. The so-called P17s, in my opinion, perform above their price range. Not only are they great for drums, but I’d also use them anytime for any other application—whether it’s guitar, piano, brass, or even vocals.
The P17 features a built-in pad circuit that, with the flip of a switch, attenuates the microphone by 20 dB. This makes it great for recording even very loud sound sources. Unlike most cheap small-diaphragm condenser microphones, the P17 isn’t harsh in the highs. On the contrary, it has a darker tone that gives the sound more body and character.
Conclusion on the AKG Drum Session I Drum Kit
No Compromises: Audix DP7
If you really want professional-quality sound without compromise, then the Audix DP7 microphone set is worth checking out. Like its competitors, the set comes with a total of seven microphones.
- 1x kick microphone
- 1x snare microphone
- 2x rack tom microphone
- 1x floor tom microphone
- 2x overhead microphones
The kick drum microphone in particular—the Audix D6—has become a favorite among many sound engineers worldwide. Thanks to its unique frequency response, it produces a very modern and punchy bass drum sound that makes extensive post-processing almost unnecessary.
Audix has also gone to the trouble of building a dedicated floor tom microphone. This makes a lot of sense because, at its core, a floor tom differs from its smaller siblings, the rack toms. In most genres of music, the floor tom is tuned significantly lower and thus often shares more characteristics with a small kick drum. As a result, it has its own specific requirements when it comes to sound. This detail is often overlooked by many manufacturers.
The set also includes a dedicated snare microphone. Its shape is somewhat reminiscent of the classic SM57 from Shure. It’s significantly larger than the tom mics, which, in my opinion, makes it harder to position. On the other hand, the sound is exactly what I’d expect in this price range: prominent highs that cut through a full mix and powerful lows that give the snare the weight and punch it deserves.
Fabulous Clamps
But what elevates this set from “great” to “phenomenal” are the microphone clamps. The overhead microphones—just like with the other sets—are attached to a stand using a simple clamp. It’s important to note here that stands are not included in this set or the others and must be purchased separately.
The tom and snare microphones, on the other hand, feature a very ingenious clamp design. These are attached to the hooping of the drum being miked. They use a screw system , which makes installation much easier. The microphones themselves are then screwed onto a gooseneck, which can be adjusted for height. This gives you complete freedom to position the microphones exactly as you wish, without having to make any compromises.
The only drawback of this setup is that during long and/or very intense drum sessions, the gooseneck may shift slightly due to vibrations. However, this happens extremely rarely, and it’s easy to bend it back into place.
Conclusion on the Audix DP7 Drum Microphone Set
Everything has already been said above: great sound, solid build quality, and an extra floor tom microphone. The only way to top this drum kit is by putting together a selection of individual microphones that perfectly match your drum set and that will definitely cost you more than the entire set, which goes for around €1,000. From sound quality to accessories, Audix offers the perfect balance here: professional sound at a comparatively low price. Highly recommended!
The Expert: Lewitt BeatKit Pro
I’d call this kit the hidden gem among drum kits. At first glance, it doesn’t seem like anything special. Like the others, it comes with the usual seven microphones.
- 1x Kick Microphone: DTP 640 REX
- 1x Snare Microphone: MTP 440 DM
- 3x Tom Microphone: DTP 340 TT
- 2x Overhead Microphone: LCT 140 AIR stereo pair
But right there in the kick drum microphone, there’s already a secret hidden. That’s because it contains not just one microphone capsule, but two. But what’s the benefit of this, and what do I need to keep in mind?
In drum recording, it is common practice to record the kick with two or more microphones . Typically, this involves one dynamic microphone and one large-diaphragm condenser microphone. The dynamic microphone often captures the attack , while the condenser microphone captures the low-end bass. Lewitt has refined and modernized this principle. Because both microphone capsules are housed in a single enclosure, they could be precisely matched to each other. You can also use a toggle switch on the microphone to adjust the balance between the capsules yourself to find your ideal kick sound. In addition, the kick microphone also features a two-stage pad circuit, which allows you to attenuate the signal by 10 or 20 dB.
The only thing you need to keep in mind is to allow for one more input on the interface. This is because the microphone outputs both signals separately. You have one connector on the microphone itself, which is split into two XLR connectors using a Y-cable.
The overhead microphones also come equipped with a few features. First, there’s a relatively standard pad circuit to attenuate the signal. In addition, there’s a switchable high-pass filter that cuts off frequencies below 80 hertz. This allows you to predefine the sound during recording and clean up the frequencies. The final feature is an Air function. With the push of a button, you can boost high frequencies to achieve a very modern hi-fi sound right at the microphone. However, if you prefer a more neutral sound, you can of course turn this function off.
The snare and tom microphones are very sturdy and sound great. They’re very unobtrusive but reliable. With the included microphone clamps, which attach to the snare wires, you can adjust the microphones very precisely and individually . The clamps themselves are very well-built and hold very securely on the drums. The only drawback I find is attaching the clamps. Due to the sturdiness and stability of the clamps, it’s relatively difficult to attach them to the drums. Once you’ve managed to do so, they hold incredibly well.
The Case
The last thing about this kit that I’d like to mention positively is the case itself. With all the kits so far, the microphones have been packed in a decent case, which is fine for transport but, in my opinion, wouldn’t withstand any heavy-duty use. Lewitt, on the other hand, has included an extremely rugged, Pelican-style case here, where all the microphones and accessories are secured in high-quality foam. It gives the impression that you could toss the case around without a second thought, and nothing would happen to the contents. Especially for anyone who wants to use the kit live, this feature is a real asset. But it’s also good for everyone else to know that their expensive investment is safely stowed away.
Conclusion on the Lewitt Drum Case
I would have loved to keep this kit right away and take it with me everywhere. The case keeps it packed more than securely, so it can get splashed with beer or fall off the bar even in the wildest clubs. As long as the case is closed, it can actually withstand just about anything. Sound-wise, it’s every bit as good as the Audix and even offers extra features with the dual capsule for the kick drum microphone. For me, this is the set that feels the most modern.
Summary: Drum Microphone Set Comparison
If you just need a way to record your drums very inexpensively and don’t need a professional sound, then the t.bone DC1500 might be right for you.
But if you want a more professional sound, with microphones you can easily use for other purposes as well, then I definitely recommend the AKG Drum Session I. With this, you can slowly get the hang of drum recording and make your first more professional recordings.
Or maybe money isn’t an issue for you right now and you don’t want to compromise on sound quality? Then check out the Audix DP7 . It offers professional sound, paired with super practical mounting options. Everything you could want in the studio and on stage. Professional equipment at a premium price.
But if you want the most modern kit with the most features and the sturdiest case, then I recommend taking a look at the Lewitt Beatkit Pro. While this kit is the most expensive among the drum cases featured here, you can see and hear why. Professional audio quality, lots of hidden features, superb build quality, and great attention to detail. In the end, it’s worth every penny.
If you’re now interested in recording your drums but don’t yet have an interface with the required seven inputs, feel free to check out our interface comparison. There you’ll find the right interface to ensure your recording turns out great.
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