Overhead mics for drummers

A lot of people use it as a vocal mic, but it works brilliantly as a drum overhead as well.

You can either use a single C214, or you can buy a second one to create a matched pair. Also, the more your mics weigh, the more sturdy the stands might have to be. Overheads do not have to have insanely high levels, but higher does tend to be better and just give that extra bit of protection to ensure that your mic won’t distort if you do have a loud drummer playing.

Overloading microphones is a sure fire way to ruin recordings, so be sure to avoid this by getting a mic with a high SPL rating.

Frequency response

The range of human hearing is, in theory, 40 Hz to 20 kHz.

Dynamic mics tend to have a lower sensitivity, so this means they are good for high-volume recordings and will turn this into a much more stable level of sound, and the mic won’t get “overloaded” easily. Some mics are a bit higher, and this can be something to look out for. A lot of these mics come with clips for connecting to mic stands, as this is pretty standard as additions go.

Other mics include accessories such as cases, which can be used for safely storing and transporting, the Beyerdynamic MC930 is a good example of this.

While many studio condensers hover around 130 dB, which works fine for moderate playing styles, I’ve found this leaves little headroom for those explosive fills that make recordings truly come alive.

Phantom Power Requirements

Before you even think about connecting those shiny new overhead microphones to your audio interface, phantom power requirements demand your attention because one wrong assumption can leave you with expensive paperweights instead of functioning recording tools.

The SPL handling, pickup pattern, frequency response, and overall build quality will affect how good the overhead mics sound when recording your drums.

If you’re new to using drum mics, you won’t be able to distinctly hear how one mic is better than another. Dynamic mics sidestep this requirement entirely, offering plug-and-play simplicity that I appreciate during rushed sessions.

Those two switch features are incredibly useful when it comes to setting these up as drum overheads.

Something to note is that these mics are quite long. You’ll get cardioid, omni, and super cardioid capsules that easily mount and remove, letting you adjust pickup patterns based on your drum kit’s configuration and room acoustics.

So why do some people still opt for dynamic mics? This weight gets affected by how heavy the bag or case is that holds the condenser mics.

Large-diaphragm mics are always the heaviest options, especially if you have a matched pair of them. Its 0.5-inch true condenser transducer delivers exceptional clarity across the full 20 Hz to 20 kHz frequency range, capturing every cymbal shimmer and stick attack with professional precision.

This gives a balanced overview of the kit and allows the microphone to pick up sound from the whole kit rather than just focusing on one area.

Two microphones are usually set up, and these can capture the left and right of the kit in more detail and give a wider stereo field for engineers to play with when it is time to mix the drums.

Features to consider when choosing an overhead drum microphone

What features do you need to think about when you are looking to choose a drum microphone?

You’ll appreciate its super-cardioid polar pattern, which effectively rejects off-axis noise while maintaining a solid 60 dB signal-to-noise ratio. This means that you can comfortably place them anywhere in your setup without worrying about cymbals getting in the way.

They come with foam windshields as most matched pairs do, but I particularly love how these sound with those windshields attached.

These mics are quite a bit more expensive than the sE7s, but you’ll also notice a huge upgrade in quality compared to those.

It’s the safest bet to go with.

Build Quality

Build quality is another aspect of microphones that you should always look into before buying them. The cardioid pickup pattern ensures the sound is focused on what’s in front of the mic, keeping your signal clean and clear. That basically means that you won’t be fighting humming sounds with these mics when you’re recording and mixing.

They come with built-in switchable 20dB pads, which I’d say are essential for recording drums with.