DRUMMER CAFE

I have not used either, but just thought I'd let you know that the March issue of DRUM! has a review of 7 drum mic pre-packs. The Nady DM5 is one of them reviewed.

Either way is relatively comprable actually.   The Samsons aren't any better or worse than the Nady's and I don't like 57's any more than a cheap Nady (mics are instruments remember, its a matter of taste).

If you do the former, I'd use the Samsons as overheads and the 57 and 8" speaker on the kick.  The snare will get into the overheads just fine and adding the 57 to the kick will get you some attack the 8" speaker can't get which will make it a helluva lot easier to mix.

Again, mics are an instrument.   Just like drums, you'll get the most professional sound from a professional.   I'd argue the  engineer makes more difference than the gear.  

Especially in the price range you're talking about.

I'd argue that point.

Many classic drum recordings have been done with three and even two mic configs.

What you lose when you move away from close micing each drum is individual level, effect and eq ability. Dynamics will come through just fine.

For the thread poster, check out a pair of inexpensive MXL 603s for OHs and a decent kick mic. Audix D4, D6, AKG D112, etc.

You'll like what you hear.

I heard a setup using 2 sm57s for overheads and an sm58 thrown into the bass drum, and for the most part, it sounded good. The snare sound was outstanding, but low in volume, and the bass was dead. the dead bass is the price you pay for having the mic fully sitting in the drum, it doesnt pressurize the mic as much.


The kick mic I have covered. I will be using an MB Quart 8" speaker. I have already tried this method, and the results were amazing. I have never heard a dedicated kick drum mic produce the sound as accuratly as the speaker did, and the low end freq response was very impressive.  

I heard a recording last night of the C02s being used as overheads, and although each drum was miced as well, I was very impressed with the way they reproduced the sound of all of the cymbals.  My only fear with those mics as that they wont pick up the drum kit as a whole.  

As for the SM57 on the snare... That is the route I am going. I have heard it and I loved it.



So, the only question I have (which I guess has been answered already) is... will the overheads pick up the rest of the kit good enough for a nice recording?  

Get the DM7. I got one for a live mic kit, because I got sick of my "nice" mics getting trashed.  (Usually we do sound for the opening acts) We recently did some mic experimentation with recording, and ended up using the Nadys for the toms. I would rather use condensors, but, I am not a rich man.  :-D  The Nadys for the price are the winner there. Like everyone else said, you are not going to get a clear individual drum sound with just some over heads.  My .02 cents.
Ian

Yes.  If you put them in the right place.  

And in case you were wondering, no, we can't tell you where the right place is because that depends on the internal balance of your, the room, and the mics character.

Be patient and have fun

The SM58 does not have the same freq range as the SM57. The SM57 gets a little lower. The SM58 would be okay on a small tom, but it will miss some of the lows on a large tom and a lot of the lows on a kick.