The PGADRUMKIT7 Drum Microphone Kit is a complete set of professional-grade microphones designed to provide excellent sound for full drum kit performances and recording.
1 PGA52 cardioid dynamic kick drum microphone
3 PGA56 cardioid dynamic snare/tom microphones
1 PGA57 cardioid dynamic instrument microphone
2 PGA81 Cardioid Condenser Instrument Microphones
3 x A25D Break-Resistant Microphone Clips
3 AP56DM Break Resistant Drum Rim Supports
7 XLR-XLR cables 4.6 m
Supplied in a zipped carrying case
Drum Microphone Setup
Before you begin, review these fundamental concepts to get the best possible results:
Tuning:Before recording a drum kit, make sure the drums are in tune. A well-tuned kit greatly improves sound quality for recording and live sound reinforcement. It also makes mixing and signal processing easier, faster, and more efficient.
Placement:Use the proximity effect to your advantage when you want to boost bass. Small changes in microphone placement (distance and angle) have a big impact on sonic characteristics. If time permits, experiment with different microphone positions to achieve your preferred sound.
① Kick (PGA52)
Place the microphone in front of the resonant bass drum head.
If there is a hole in the head, place the microphone inside it for better isolation. Removing the resonant head and placing the microphone closer to the striking head increases the attack.
To reduce sustain and harmonics for a focused attack, try using a pillow inside the kick drum.
② Snare drum (PGA57)
Place the microphone 1 to 4 inches above the drum, near the edge.
Point toward the center of the head to capture more attacks with the stick, or move the edge closer to capture more harmonics.
Aim the microphone with the back side facing the hi-hat to reduce the amount of cymbal in the snare signal.
③ Toms (PGA56)
Place the microphone 1 to 4 inches above the drum, near the edge.
Use the included AP56DM drum mounts to attach the PGA56 to the drum. The microphone can also be mounted on a standard 5/8" microphone stand.
Point toward the center of the head for a deeper sound, or closer to the edge to capture more harmonics.
④ Overhead costs (PGA81)
Overhead microphones capture the cymbals and an overall stereo image of the drums. See the section on stereo microphone techniques for more details.
Tips for hanging microphones:
Rotate one microphone left and the other right on a mixer or in recording software to create a stereo image
The further apart the left and right signals are, the wider the sound will be.
Overheads can be panned from the audience's or drummer's perspective, depending on preference. Pan the toms to match the overhead pan for accurate stereo sound.
Other stereo drum recording techniques to explore include the Glyn Johns Method, Recorderman, and Mid-Side.
Additional information on drum recording and microphone techniques is available at shure.com
The PGADRUMKIT7 Drum Microphone Kit is a complete set of professional-grade microphones designed to provide excellent sound for full drum kit performances and recording.
1 PGA52 cardioid dynamic kick drum microphone
3 PGA56 cardioid dynamic snare/tom microphones
1 PGA57 cardioid dynamic instrument microphone
2 PGA81 Cardioid Condenser Instrument Microphones
3 x A25D Break-Resistant Microphone Clips
3 AP56DM Break Resistant Drum Rim Supports
7 XLR-XLR cables 4.6 m
Supplied in a zipped carrying case
Drum Microphone Setup
Before you begin, review these fundamental concepts to get the best possible results:
Tuning:Before recording a drum kit, make sure the drums are in tune. A well-tuned kit greatly improves sound quality for recording and live sound reinforcement. It also makes mixing and signal processing easier, faster, and more efficient.
Placement:Use the proximity effect to your advantage when you want to boost bass. Small changes in microphone placement (distance and angle) have a big impact on sonic characteristics. If time permits, experiment with different microphone positions to achieve your preferred sound.
① Kick (PGA52)
Place the microphone in front of the resonant bass drum head.
If there is a hole in the head, place the microphone inside it for better isolation. Removing the resonant head and placing the microphone closer to the striking head increases the attack.
To reduce sustain and harmonics for a focused attack, try using a pillow inside the kick drum.
② Snare drum (PGA57)
Place the microphone 1 to 4 inches above the drum, near the edge.
Point toward the center of the head to capture more attacks with the stick, or move the edge closer to capture more harmonics.
Aim the microphone with the back side facing the hi-hat to reduce the amount of cymbal in the snare signal.
③ Toms (PGA56)
Place the microphone 1 to 4 inches above the drum, near the edge.
Use the included AP56DM drum mounts to attach the PGA56 to the drum. The microphone can also be mounted on a standard 5/8" microphone stand.
Point toward the center of the head for a deeper sound, or closer to the edge to capture more harmonics.
④ Overhead costs (PGA81)
Overhead microphones capture the cymbals and an overall stereo image of the drums. See the section on stereo microphone techniques for more details.
Tips for hanging microphones:
Rotate one microphone left and the other right on a mixer or in recording software to create a stereo image
The further apart the left and right signals are, the wider the sound will be.
Overheads can be panned from the audience's or drummer's perspective, depending on preference. Pan the toms to match the overhead pan for accurate stereo sound.
Other stereo drum recording techniques to explore include the Glyn Johns Method, Recorderman, and Mid-Side.
Additional information on drum recording and microphone techniques is available at shure.com
