BUILD A MICROPHONE CABINET ON ANY BUDGET

Sep 1, 2000 12:00 PM, ELECTRONIC MUSICIAN STAFF

BASIC COVERAGE BUDGET ($2,000) Myles Boisen (1) Sennheiser E602 ($319) (2) Sennheiser E604 ($249 each) (2) Shure SM 57 ($146 each) (2) Shure BG 4.1 ($275 each) (1) AKG C 3000B ($520)

As I look at this list, I'm amazed by how much you can do with just eight microphones. With this setup (plus some talent and a lot of empty tracks), it's possible to get a thoroughly professional drum sound, then move the mics around and overdub a whole band to perfection.

The Sennheiser E602 is an amazing kick-drum mic that can turn any bass drum into a thundering arena-rock monster. It's also a viable choice for electric bass and other low-end sources.

Sennheiser's E604 is another technological wonder, adapted especially for use on toms but equally effective on electric guitar, organ, brass, and more. And if your drummer doesn't need four mics for snare and toms, try an E604 underneath the snare for some extra snap.

For drum overheads, a pair of small-diaphragm condensers is a must. The Crown CM 700 (mentioned earlier) would work, but for general use I've found the brighter response of the Shure BG 4.1 to be more suitable. Also, it runs on batteries, so it can double as a location-recording microphone for concerts, sampling, or environmental recording.

And if you're just doing drums, don't let that large-diaphragm condenser sit idle: try using it a bit outside the bass drum for a more realistic kick sound, or place it a few feet back from the kit to capture the live ambience of the entire drum set.

BASIC COVERAGE BUDGET ($2,000) Brian Knave (1) beyerdynamic TG-X 50 ($249) (1) Shure SM 57 ($146) (3) Audix OM-2 ($149 each) (2) Audio-Technica AT3528 ($259 each) (1) Audio-Technica AT4047/SV ($695)

It's not easy putting together a cabinet of this size for only two grand. If you do the math, you'll see that we both came in slightly over budget, but we were close enough for practical purposes.

Again, I've enlisted the remarkably priced AT3528 - only this time as a pair for drum overheads and other stereo applications. Also, I've stayed with the SM 57 for snare and the OM-2 pair for toms - a combination that I know works well because I've relied on it many times.

For the large-diaphragm dynamic, I've selected another low-cost favorite of mine, the beyerdynamic TG-X 50. This mic has amazing attack and a very natural sound overall. It's especially good on bass-guitar cabinets, but it makes a very punchy kick-drum mic, too, especially for jazz and other applications where realism is desired.

My pick for the large-diaphragm condenser at this price has to be Audio-Technica's new AT4047/SV, a lovely-sounding microphone specifically designed to have a vintage FET sound. What this means, at least to my ears, is an overall warmer sound than that produced by other solid-state mics in Audio-Technica's 4000 series, as well as smoother (though still very present) highs. Trust me: this mic does not sound like a budget model. In addition, the 4047 comes with a great shock-mount, and it provides both an 80 Hz low-cut filter and a 10 dB pad, making it a truly exceptional value.

BASIC COVERAGE MIDLINE ($3,500) Myles Boisen (1) Shure SM 57 ($146) (1) Electro-Voice N/D 468 ($278) (1) Sennheiser E604 ($249) (1) Sennheiser MD 421 II ($485) (1) Sennheiser E602 ($319) (2) Oktava MK 012 ($499.99 each) (1) Neumann TLM 103 $995

At the midline level, you gain the ability to further refine your sounds by comparing different microphones on the same sources. For example, you can try out both the MD 421 II and the E602 on floor tom and kick drum and alternate the SM 57 and the N/D 468 (a compact supercardioid mic with a neat rotating capsule) on snare. The crisp highs and thick lower midrange of the N/D 468 make it my personal favorite for this crucial application.

I'm very enthusiastic about Oktava's MK 012, and the reason is simple: this small-diaphragm condenser microphone is a real bargain that sounds great on vocals, drums, percussion, acoustic guitar, piano, and many other sources. The MK 012 can cover most of the bases for a personal studio, whether you're recording voice-overs, singer-songwriter vocals, acoustic instruments, or samples.

For critical applications, a matched stereo pair is a necessity that is well worth the extra bucks. Matched pairs of Oktava MC 012 sets (which include interchangeable cardioid, omnidirectional, and hypercardioid capsules, as well as an insertable 10 dB pad) are, to my knowledge, sold only through an online retailer (www.sound-room.com). I recommend these products highly. Single (cardioid only) MK 012 mics available in stores can be matched by listening, but this process requires patience, a good stock of microphones on hand, considerable skill, and lots of luck. It is worth noting, however, that the MK 012s sold in stores are often priced far below the suggested retail. (Guitar Center, for example, frequently offers them for $149 each.)

In addition to the Oktava mics as the stereo pair, I'm recommending the Neumann TLM 103 as the large-diaphragm condenser in this category. It makes a great ambient drum-room mic, and it is a solid choice for vocals, acoustic instruments, percussion, electric guitar, and other sources.

This shopping list not only will set you up nicely, but it also comes in a few bucks under budget. I suggest you spend the surplus on business cards so you can recoup some of your investment!

BASIC COVERAGE MIDLINE ($3,500) Brian Knave (1) Electro-Voice N/D 868 ($338) (1) Audix D1 ($219) (3) Audix D2 ($219 each) (2) Earthworks SR77 ($599 each) (1) BLUE Dragonfly ($1,095)

At this price point, I get to include one of my favorite kick-drum mics, the Electro-Voice N/D 868. This unit consistently provides a fat, round, warm, and solid thump, practically regardless of the drum. Also, it has exceptional off-axis rejection, making isolation a snap. Another contender here, though a tad more expensive, is the long-standing AKG D112 ($382).

You've probably noticed that I really like Audix dynamic mics; their superior transient response makes for a natural sound, which I like on drums. Here I'm promoting the D1 and D2 for snare and toms, respectively. With this budget, you can afford to forgo the handheld models and use mics that are more specifically designed for easy positioning around the kit. (Be sure to check out the sidebar "Drum-Mic Kits," which details drum-specific microphone packages from several manufacturers.)

My choice for small-diaphragm condensers - and here we're talking very small diaphragms - is the Earthworks SR77. This distinctive cardioid mic is a stunning performer, both in the studio and onstage, providing the extremely realistic sound that Earthworks is known for. I can hardly get through a session without using this mic. The SR77s are exceptional on acoustic guitars, percussion, drums (as overheads), and pretty much anywhere you want to capture the sound as is. The only drawback to Earthworks mics is their relatively high self-noise levels (a slight, airy hiss); however, this is usually easy enough to work around, especially in busy mixes.

Another great-sounding - and very quiet - small-diaphragm condenser I recommend highly is the MicroTech Gefell M300 ($495). In a recent comparison test (see "To Tell the Truth" in the March 2000 EM), this beautifully engineered mic was a consistent favorite in nearly all of the applications.

For this cabinet's large-diaphragm condenser, I could hardly decide between the Neumann TLM 103 and the BLUE Dragonfly. Both are amazing - equally quiet and first-rate in sound quality; either one will serve you well.

In the end, I picked the Dragonfly, if only because I find it a tad more forgiving on a broader range of instruments. For vocals alone (depending on the singer), I more often prefer the TLM 103, thanks to that distinctive Neumann presence boost. However, that same boost can sound a bit harsh on some sources (such as triangle or harmonica). The Dragonfly is a flatter-sounding mic, so if you're recording lots of acoustic instruments - guitars, pianos, drums, percussion - I think it's the way to go.

Then again, neither mic offers switchable polar patterns, attenuation pads, or low-cut filters. If you need the versatility afforded by these "extras," you might want to up your budget a bit and go for the AKG C 414 B/ULS ($1,258). This impressive mic has a smooth sound, nicely extended highs and lows, and great transient response. It's not only a great value but truly a classic that will do any mic cabinet proud.

BASIC COVERAGE DELUXE ($7,500) Myles Boisen (1) Shure SM 57 ($146) (1) Electro-Voice N/D 468 ($278) (1) Sennheiser E604 ($249) (1) Sennheiser MD 421 II ($485) (1) Sennheiser E602 ($319) (2) Neumann KM 184 ($1,458 for matched pair) (1) Lawson L47MP ($1,995)

At the risk of getting boring and predictable, I've already scored my ideal dynamic drum-mic cabinet at the lower-budget level, and I'm sticking by those choices. These mics have always served me well, so my strategy here is to upgrade the condenser-mic section of my growing vault while still keeping a little dough stashed away in the bank.

For drum-overhead miking, I'm moving up to the highly regarded Neumann KM 184. Known for its low noise, crisp and detailed response, and full lows, this relative newcomer has already established itself as an industry standard. Additionally, it is available in specially matched stereo pairs.

In this category, however, I must give an honorable mention to my all-time favorite among small-diaphragm condensers: the Schoeps 221b, a vintage tube microphone with switchable cardioid and omnidirectional pickup patterns. Fortunately, these mics are still plentiful - you can get one for about $1,000 - and are often available in pairs (though there's no guarantee they will be closely matched in response). The KM 184 and 221b are also excellent for many other stereo-miking applications, including acoustic guitar, piano, and percussion.

In the exalted large-diaphragm condenser microphone category, nothing says "deluxe" quite like the Lawson L47MP tube mic, which is plated in 24-carat gold. This microphone has become an indispensable tool in my studio ever since Brian Knave and I brought it in for an EM comparison test two years ago. It's my first choice for vocal, saxophone, and organ tracks, and it can do amazing things for hard-rocking electric guitar, acoustic guitar and bass, and room ambience. In addition to its lush and "tube-y" tone, the L47MP has a continuously variable pickup-pattern selector on the power supply that can be adjusted from the control room to produce dramatic changes in room sound and timbre.

BASIC COVERAGE DELUXE ($7,500) Brian Knave (1) Electro-Voice N/D 868 ($338) (1) Electro-Voice N/D 468 ($278) (2) Sennheiser MD 421 II ($485 each) (1) Electro-Voice RE20 ($748) (1) Neumann U 87 AI/SET Z ($3,200) (2) Earthworks QTC1 ($2,000 for matched pair)

Here's a cabinet that will rock almost any drummer's world - and then turn around and handle the rest of the band with aplomb, finesse, accuracy, and punch. Electro-Voice's awesome N/D 868 captures a thunderous kick, and its hip N/D 468 does thwack duty on the snare. The two rack toms are fully covered by the Sennheiser MD 421s, and the booming floor tom is tamed by Electro-Voice's RE20 (a versatile cardioid that's notable for not building up much proximity effect at close range - hence its favored status among radio announcers).

As overheads, you have a matched pair of the amazing Earthworks QTC1 single-point omnidirectional mics. The QTC1 is a strong contender for being the most accurate-sounding microphone on the planet, and it's definitely the least expensive in that rarefied category. The QTC1s are easy to use, too: keeping the 3-to-1 rule in mind, you can pretty much position them almost anywhere. On drums, I like them as a spaced pair, hunched close on either side of the kit, but they also work surprisingly well in XY and ORTF configurations. And just wait until you hear these mics on acoustic guitars, pianos, percussion, upright bass - in fact, just about anything you can think of.

You won't go wrong if you choose the Neumann U 87 as your large-diaphragm condenser. (The AI/SET Z is the fully loaded version, complete with premium shock-mount.) On the other hand, if you have a hankering for tube warmth instead, you might want to consider the Neumann M 147 ($1,995), which is a fixed-cardioid design (obviously less versatile than the U 87, but an impressive mic for what it does), or the Lawson L47MP ($1,995), which covers all the polar patterns and then some.

NO COMPROMISES MIDLINE ($9,000) Myles Boisen (1) Sennheiser E602 ($319) (1) beyerdynamic TG-X 50 ($249) (1) Shure SM 57 ($146) (1) Electro-Voice N/D 468 ($278) (2) Sennheiser E604 ($249 each) (2) Sennheiser MD 421 II ($485 each) (1) Royer R-121 ($995) (1) Crown CM 700 ($289) (2) Oktava MK 012 ($499.99 each) (2) Neumann KM 184 ($1,458 for matched pair) (1) Neumann TLM 103 ($995) (1) Lawson L47MP ($1,995)

No big surprises here, except that a beefier budget has allowed some expansion and different flavors in the dynamic-mic department. The beyerdynamic TG-X 50 sees a lot of duty at my studio when more attack and definition is needed from a kick drum, and it is also a favorite for rock bass-guitar tracks.

On electric guitar, I constantly pair the Royer R-121 ribbon mic with a Sennheiser MD 421. Sometimes I use both tracks in a mix, but more often than not, the warm personality of the Royer wins the guitarist's favor. The R-121 (or its British counterpart, the $1,195 Coles 4038 ribbon mic) is also excellent for acoustic bass, cello, brass instruments, hand drums, and a variety of other sources.

I've already covered the other mics listed here. The only change is the Crown CM 700, which is slated for hihats in this comprehensive cabinet.

NO COMPROMISES MIDLINE ($9,000) Brian Knave (1) Electro-Voice N/D 868 ($338) (1) beyerdynamic TG-X 50 ($249) (1) Electro-Voice N/D 468 ($278) (4) AKG C 418 ($329 each) (1) Sennheiser MD 421 II ($485) (1) Royer R-121 ($995) (1) Crown CM 700 ($289) (2) Earthworks SR77 ($1,300 for matched pair) (2) MicroTech Gefell M300 ($495 each) (1) AKG C 414 B/ULS ($1,258) (1) Lawson L47MP ($1,995)

For this cabinet, I'm still using the N/D 868 and N/D 468 for kick and snare, respectively, but I've switched to AKG C 418 miniature condensers for the toms. These great-sounding little units come complete with convenient clips that clamp onto the rims of the drums for quick and easy setup. For hi-hat, I picked the Crown CM 700 - not only because of its low price and great sound, but also because it offers a 2-position low-cut switch; with most hi-hats, I typically engage them both.

Like Boisen, I chose both the Sennheiser MD 421 II dynamic and the Royer R-121 ribbon for miking electric-guitar amps. I also love the Royer on horns and percussion, and I find it indispensable for recording violin and any other potentially "scratchy" sources.

The Earthworks SR77 and the MicroTech Gefell M300 are my choices for small-diaphragm condensers in this category. Having both pairs really expands the sonic palette, as the two models, though both very accurate, have quite different "attitudes."

I took the same approach in the large-diaphragm department, going for maximum flexibility and range of sound by using both the multipattern, solid-state AKG C 414 and the multipattern Lawson L47MP tube mic.

If you don't mind spending a few extra dollars, a different multipattern tube microphone that would fill this cabinet out nicely is the CAD VX2 ($2,249). This smooth, gorgeous-sounding mic employs two tubes and provides three polar patterns (cardioid, omni, and figure-8) and two interchangeable capsules: the OS 125 (1.25-inch diameter), which has a big, warm sound; and the brighter-sounding OS 110 (1.1-inch). The VX2 also provides an 80 Hz low-cut filter and two attenuation pads.

NO COMPROMISES DELUXE (no price limit) Myles Boisen (1) Sennheiser E602 ($319) (1) beyerdynamic TG-X 50 ($249) (1) Shure SM 57 ($146) (2) Sennheiser E604 ($249 each) (1) Electro-Voice N/D 468 ($278) (1) Sennheiser MD 421 II ($485) (1) Electro-Voice RE20 ($748) (1) AEA R44CX ($2,795) (1) DPA 4011 ($2,190) (2) Earthworks QTC1 ($2,000 for matched pair) (2) Neumann KM 140 ($2,650 for SKM stereo set) with AK 20 ($975), AK 30 ($775), AK 31 ($975), and AK 43 ($775) capsules (two each, with accessories included) (1) Neumann U 87 AI/SET Z ($3,200) (1) BLUE Bottle Mic ($4,500) with B0, B1, B2, B3, B4, B5, B6, and B7 capsules ($750 each, except for B4 at $1,500)

Oops, I got carried away on this one. But I can use all these mics - really! The only drum-mic change is the addition of the RE20, a large-diaphragm dynamic equally at home with kick drum, floor tom, trombone, electric guitar, or bass cabinet.

The R44CX is a replica of the famed RCA 44BX, the "Big Daddy" of ribbon mics. Formerly made by Bruel & Kjaer, the 4011 cardioid small-diaphragm condenser will handle an SPL of 158 dB. That ought to work as a hi-hat mic!

Earthworks offers several amazing mics that look like surgical implements and sound closer to reality than any transducers I've heard. The QTC1 is an omnidirectional condenser available as a matched stereo pair with high-end response out to 40 kHz.

The KM 140 set features compact microphone bodies with interchangeable small-diaphragm capsules to cover every imaginable recording task. I needed a stereo pair of these, but I showed restraint by picking only five of the seven available capsule types. With the BLUE Bottle tube mic, I'm afraid I had to go for a full set of all eight interchangeable capsules - everything from large-diaphragm vocal capsules to the Perspex Sphere omnidirectional.

A few other last-minute "impulse items" that I just couldn't live without for my No Compromises deluxe cabinet would include a Lawson L47MP ($1,995); a vintage Neumann U 47, the one with the long body and chrome top (about $8,000 used); a Manley Reference Stereo Gold mic ($8,000); and a Fentone high-impedance crystal mic ($100 to $200 used).

NO COMPROMISES DELUXE (no price limit) Brian Knave (1) Electro-Voice N/D 868 ($338) (1) beyerdynamic TG-X 50 ($249) (1) Electro-Voice N/D 468 ($278) (3) Sennheiser MD 421 II ($485 each) (1) Electro-Voice RE20 ($748) (1) Sennheiser MD 441 II ($895) (1) AEA R44CX ($2,795) (1) DPA 4011 ($2,190) (2) DPA 4007 ($1,400 each) (2) Schoeps CMC 5 ($645) with MK 21 ($680) and MK 6 ($1,475) capsules (1) Neumann U 87 AI/SET Z ($3,200) (1) BLUE Bottle Mic ($4,500) with B0, B1, B2, B3, B4, B5, B6, and B7 capsules ($750 each, except for B4 at $1,500)

Talk about a dream cabinet! Interestingly, it was mostly in the deluxe realms such as this one that Myles Boisen and I selected many of the same mics. We both adore the BLUE Bottle Mic - it's quite simply the most beautiful-sounding microphone I've ever recorded with - as well as the stunning R44CX ribbon mic. Also, we both picked the DPA 4011 cardioid for hi-hat. Actually, a pair of 4011s would be nice, but I chose the 4007 omnis for my first pair of small-diaphragm condensers, both for variety's sake and because I love single-point omnis on acoustic guitars, drum overheads, and the like.

For the other pair of small-diaphragm condensers, I'm going for the stellar Schoeps modular system - in this case the CMC 5 mic body (amp) and just two capsules: the warm-sounding MK 21 subcardioid and the MK 6, which offers switchable polar patterns (omni, cardioid, and figure-8).

Ordinarily I would stop there, but like Boisen, I will take the liberty of indulging some of my fancies, too. Among the other microphones I would want for my dream studio are a matched pair of Earthworks QTC1 omnidirectional mics ($2,000) and SR77 cardioid mics ($1,300); a Lawson L47MP ($1,995); a MicroTech Gefell UM 900 tube mic ($3,500); a Neumann M 149 tube mic ($4,850); a vintage Neumann U 47 (about $8,000); a Neumann RSM 191 A-S mid-side stereo mic ($4,550); an AKG C 12 (about $5,000 used); an AKG C 426B stereo mic ($3,395); a pair of Schoeps BLM 3 boundary-mic capsules ($960 each) with CMC 5 amp bodies ($645 each); a Schoeps KFM 6 Stereo Sphere ($6,735); a pair of Royer R-121 ribbon mics ($995 each); a Coles 4038 ribbon mic ($1,195); a vintage Shure 707A crystal mic ($175 to $200); a whole bag of Shure SM 57s . . . but I'd better stop now before I get carried away!

Cabinet Closed In writing this story, we had to leave out many great mics - a problem you'll have once you start putting together your own cabinet. Clearly, the transducer market is beset with an embarrassment of riches. We hope we've given you a head start in figuring out your budget, your applications, and your microphone needs.

Although the Basic Coverage cabinet would obviously work for any Bare Bones application, we have tailored it specifically for bands seeking to record and release their own records using minimal gear. To that end, it contains just enough mics (five dynamics and three condensers) to allow full miking of a 5-piece drum kit - yet not for recording the whole band at once. In other words, overdubs are required. But if you don't mind building your songs instrument by instrument, the Basic Coverage cabinet should serve your needs.

We have a large-diaphragm dynamic for the kick drum, four other dynamics for close-miking the snare and up to three toms, and a pair of small-diaphragm condensers for overheads. That leaves one large-diaphragm condenser for use either as an ambient room mic or on hi-hats.

With all the mics positioned on the drums, you can then use DIs to record bass, keys, and dummy electric-guitar tracks - thereby laying down the basic tracks for a song or an album in one pass. Playing the core instruments together gives a lively, natural feel, and having everyone but the drummer use DIs helps isolate the drums, keeping those tracks pristine. Once the drum tracks are nailed, the other basic instruments can be retracked if necessary - at which point you'll have several cool mics at your disposal. After that, you can lay down the acoustic instruments, vocals, sweetening tracks, and so on.

If you've ever done any work in major recording studios, you know that the microphone cabinets tend to be first-rate - and typically, they're huge. Indeed, a big selection of mouth-watering microphones can be a main attraction for producers, engineers, and artists alike.

For an idea of what it takes to compete at this level, we could trot out any number of major studios' mic collections. But one thing you'd discover - especially with long-standing, established facilities - is that many of the mics they use are "vintage," which is to say, you couldn't just go to your local audio store and purchase one of them. This is less likely to be the case, however, with new studios.

Starstruck Studios (www .starstruckstudios.com), owned by country singer Reba McEntire, is one of Nashville's premier new recording facilities. Designed by Harris, Grant & Associates' studio-design team, Starstruck opened for business in 1996. In addition to its acoustics and design, it is noted for housing two studios with mirror-image control rooms, each equipped with identical gear.

So which mics would you buy for a world-class recording studio? You might want to strap on your drool bucket before perusing this stately list:

(1) AKG C 12 (2) AKG C 12 VR (4) AKG C 414 B/TL II (8) AKG C 414 B/ULS (4) AKG C 3000 (12) AKG C 460B/CK 91 (4) AKG D 112 (12) AKG C 391 B (2) AKG CK 93 (2) AKG C 24 (stereo) (4) Audio-Technica AT4030 (4) Audio-Technica AT4050 (4) B & K 4007 (2) Coles 4038 (2) Electro-Voice RE20 (1) Neumann U 47 FET (2) Neumann M 149 (3) Neumann M 269 (8) Neumann U 87 (4) Neumann TLM 170 (4) Neumann TLM 193 (8) Neumann KM 184 (1) Neumann SM 69 (stereo) (12) Sennheiser MD 421 (12) Shure SM 57 (2) Sony C 800 (2) Sony C 800G (2) Sanken CU-41 (2) Telefunken ELAM 251

The No Compromises cabinet is designed to accommodate virtually any recording task you could imagine, including tracking a large band all at once. In our estimation, such a feat requires a minimum of 16 microphones (nine dynamics and seven condensers): that should be enough to cover the drum set, the bass guitar, two electric guitars (or a single electric guitar if you want to double-mic), the stereo acoustic guitar or piano, and vocals.

The drum-set microphones consist of a large-diaphragm dynamic for the kick drum, five other dynamics for the snare drum and up to four toms, one small-diaphragm condenser for the hi-hats, and a matched pair of small-diaphragm condenser microphones for overheads. One large-diaphragm dynamic is also appropriated for the bass-guitar amp (to be used in conjunction with a DI track), and there are two dynamics - including one ribbon mic - for electric guitars.

In addition, a second matched pair of small-diaphragm condenser microphones can be used to stereo-mic an acoustic guitar, a piano, a percussion setup, or whatever. And you have a choice of large-diaphragm condensers (one solid-state and one tube mic) for vocals, room-miking, and miscellaneous sources.

Of course, these 16 microphones can be used in any number of other combinations. No matter how you use them, however, they will almost certainly allow you to record without compromises.

Making the commitment to record drums in your personal studio is a big step, and often it requires a significant increase in the number and types of microphones in your cabinet. Some manufacturers simplify this task by offering cost-effective mic kits specially designed to accommodate drum recording. Here are several packages currently available, most of which include a handy carrying case:

AKG offers the Drummer's Ultimate Package ($996), which consists of one cardioid D 112 dynamic mic for the bass drum and a pair of hypercardioid C 418 condenser mics for snare drum and toms.

Audio-Technica's KitPak ($500) has four custom-engineered cardioid dynamic mics: two for snare/tom and two for kick/tom. It also includes a heavy-duty carrying case and drum-miking instructions.

Audix has packaged its four D-series hypercardioid dynamic microphones and ADX-50 prepolarized condenser mic in four different drum packs. The DP1 ($931) consists of one D2 for the toms, one D4 for the bass drum, and one ADX-50 for use as an overhead or hi-hat mic. The DP2 ($1,177) gives you one D1 for the snare, hi-hat, or cymbals; two D2s for the toms; and a D4 for the bass drum. The DP3 ($1,755) is the full-size kit: you get one D1 for the snare, two D2s for the toms, one D4 for the bass drum, and two ADX-50s for overheads. Finally, the DP4 ($1,506) offers one D1, two D2s, and two D4s (for bass drum or floor tom). Each package ships in an aluminum flight case.

CAD is offering three complete packages with plastic carrying cases. The PDK3 ($249) includes two cardioid NDM10 dynamic mics for snare and toms, and one cardioid NDM11 dynamic mic for bass drum. The PDK5 ($449) gives you four NDM10s and one NDM11, whereas the PDK5C ($449) puts together two NDM10s, one NDM11, and two cardioid CM15 electret condensers. The CM15 is designed for use as an overhead, cymbal, hi-hat, or snare-drum microphone.

Sennheiser offers three drum packs. Each contains dynamic mics from the company's popular Evolution series and comes with a carrying case. The SET604A ($747.95) provides three cardioid E604s for snare drum and toms; the SET604B ($817.95) consists of two E604s and one cardioid E602 for bass drum. The SET604C ($1,066.95) gives you three E604s and one E602.

Shure recently unveiled its DMK57-52 Drum Mic Kit ($663), comprising three cardioid dynamic SM57 mics for snare drum and toms, one supercardioid dynamic Beta 52 for the bass drum, three A56D drum mounts, and a carrying case.