Cymbals can quickly get harsh. And just as I mentioned in my post yesterday, hi-hats want to bleed all over your drum tracks like none other. Therefore, using a darker, dynamic or ribon mic to kind of tame the harshness of it all is my default preference.

Here’s what I know has worked well for people (myself included):

• Shure SM 57 – Seriously, you should just assume I’m always going to suggest this mic for everything.
• Shure SM7 – Kinda different to use this on hi-hat, but there’s a studio I work at quite often, that keeps the drum mics always set up. SM7 is what is on the hat, and it works!
• Salt Shaker Mic – These are awesome military-esque microphones from the 30s, 40s, and 50s, Such as the Western Electric 633, the Altec 632C, or the Electro Voice 630. They’re not “go-to” mics by any means, but if you ask around, it’s not impossible to track them down.

Instead of again telling you, “don’t go out and buy these mics,” I’m not only going to spare you from that spiel, but actually suggest that you go purchase a 57. After continually suggesting the 57 in pretty much every single one of my drum mic recommendations, it made me fully realize how essential that mic is. Even if you’re only recording once a month, it’s silly not to own this mic as it honestly is a decent choice for recording anything. Since it’s pretty cheap, and considering how much use it will get, you will actually save yourself some money if you just go ahead and buy one.

This post is a part of a bigger “recording drums” discussion. If you’re just now jumping in, take a look at my earlier posts on this topic:

The #1 Best Drum Miking Technique
Recording A Kick Drum
Recording A Kick Drum: Mic Selection
Recording Snare
Recording Snare: Mic Selection
Recording Drum Overheads
Recording Drum Overheads: Mic Selection
Recording Toms
Recording Toms: Mic Selection
Recording A Hi-Hat

//Jon
Twitter: @stsn