In contrast to choosing microphones to record kick and snare, there’s a much more diverse range of mics that recording engineers use for capturing drum overheads. That being said, there’s also a few common popularities that recordists often fall back on.

Because the subject of drum overhead mic selection can be quite vast, and include suggestions that can be very expensive, I’m going to keep my list limited to the most popular yet slightly less expensive options.

Here’s what I’ve seen work well for people (myself included):

• AKG 414-Very popular mic for recording drum overheads, but it’s a bit more on the expensive side. To be specific, the vintage 414s with the original CK12 capsules, or the C414B-ULS, C414B-TL, and/or C414B-TLII with the nylon CK12 capsules are the preferred choices (all these versions have been discontinued).
• Audio Technica 4033
• Shure KSM44-Probably my most used mic for recording overheads. Sometimes I find them a little bit harsh on the cymbals, but fine-tuning the placement, and darkening up the cymbals in the room helps a lot with this. These mics are also a bit on the expensive side.
• Cascade Fat Head-This is simply an incredible mic, with a magical price!
• Shure SM 57-Yep, you read that right. Believe it or not, the SM 57 can be a great overhead mic!

So as I’ve made a point to say before, don’t rush out and buy these microphones (actually, buying a 57 or two would probably be a good idea at this point). They’re popular, so you won’t have trouble gaining access to them. Borrow, rent, or book studio time (in which case you will gain access to all their mics) in order to gain use of them initially. When you find that you’re using a particular mic quite frequently, then consider making a purchase.

//Jon
Twitter: @stsn