Considering purchasing a 3 pack of Sennheiser e604's for micing toms for recording from Guitar Center for $300. I like the clip-on idea (see pict below) and figure they may be comparable or maybe better than 57's (I dunno, maybe 57's are a better choice and are about the same $). I can't afford Sennheiser 421's right now and they seem to be a standard for tom micing. Wondering if anyone had any opinions for me. Thanks.

Justin
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Justin
How about a kick good mic, 57 on the snare and spend the additional money on a pair of nice large condensers for the over all kit sound. At 4050's are not to expensive and they sound real good on drums. Use mic placement, compression and a slight amount of eq to get the toms to come through. Another alternative is to just use one condenser to pick up the over all drum sound, it is mono but a lot of times it sounds very punchy and more to gether than a bunch of mics on the drums
Electrok

Justin,
I use both on my "live" gigs. I would recommend 57 based on versatilty. My stand by mic when all else fails is the 57. As for the clip thing, you can use a butterfly arrangement made by Mic Eze. I find it more usable than the 604 clip. You can mount the 57 holder on it. Price for the 57 at GC is about $80 and less than $10 for the MicEze, so price is not a concern.

[This message has been edited by DougA (edited 03-16-2000).]

[This message has been edited by DougA (edited 03-16-2000).]

Justin:

here's another option...Audio Technica KP drum package for about $170 from sweetwater...there are two mic's that have a lower freq response for kick or toms...and then 2 mics for rack toms or snare...I have used them (only on toms though...) they sound as good as a sm-57 and have a lower profile (similiar to the pic of the e604). So far I like them a little better then the 57's for two reasons: smaller profile, so they stay out of a drummers reach...and they reject the overhead cymbols a little better. However, the e604's are good for toms as well...

Alan LoPresti

ps...I just received my koss headphones per your posting...thanks for the tip!

Justin,

I have used both mics. Both are good. I prefer the 604 over the SM57 for a few reasons. First, a engineer I respect recommended them to me (he has a Grammy, so I trust his ears). Second, if you can't afford the 421, the 604 has a similar sound (to me, the 604 has a more "open/bright/airy" sound than the 57). And third, having recorded quite a few rock drummers, I have had more than a few 57's destroyed from stick hits. The 604 uses a fiberglass shell which can take direct hits (and I can verify this) and not hurt the mic. Finally, every magazine that has reviewed the 604 seems to have liked it. So I can say without any doubt, go for it!

I've always been a 421 fiend. Put them on good sounding toms and they do a great job. I've never had much reason to use anything else; however in certain cases I used SM98's and I know they are a little cheaper than 421's and can be hidden well.

- Greg

I use E604s and MD504s on toms instead of SM57s.

• An E604/MD504 can take an unlimited number of direct hits. An SM57 is much easier to damage.
• E604/MD504s have a more consistent sound than SM57s. The variance between the sound of individual SM57s is much higher.
• I prefer the proximity effect of the E604/MD504 more than that of the SM57. Mic'ed with an E604/MD504 very close to the edge of the head, a tom sounds more like a tom.
• If the drummer has a tight kit, an E604/MD504 will be easier to place than an SM57.

But... the clip that comes with the E604/MD504 is less than ideal. Sometimes it works, sometimes it doesn't. You don't get much of range in terms of positioning. Most of the time, the mic ends up being too close to the center of the drum head. (The clips do work well with drums that are ring-suspended... you can attach the clip to the ring.)

If you've got a crucial gig, bring a set of regular mic stands to use with the E604s just in case.

If you put a bunch of engineers and ask a question like that, you'll get 100 answers.
I have a few mics that can be considered for toms. Here's what I think....
Shure SM57: Good over-all mic for the money. OK for live but in the studio, my last choice.
Shure SM98A: Nice small condenser mic for when you want to hid the mics on the kit. I use mine when I do TV. Again, more a live mic.
Sennheiser 421: High on the list for the studio, but with the high price tag, live they sometimes can grow legs.
Yamaha MZ 204, 205be: I discovered these mics when I worked for Sinatra. Great mic but they are not made anymore. I found my set used. If you get a chance to try these you'll put your 421's on the horns. My first choice.
I have not used the new little Sennheisers.

not to get off the subject, but has anyone tried the Audix D series? Specifically the D2 and D4? I have heard good things, but I haven't "heard" them.

Try the Shure beta 56 on toms. It's much easer to get into place than a 57 for toms, hotter output , needs less gain than a 57,
captures more of the wood, depth. They are much less than a 421 but don't capture as much thickness. I've come to the conclusion that in order to get a great drum sound, you need a spectacular sounding drum kit. As the great engineering saying goes, " you can't polish a terd". I don't care what great mic you have, if it's a crappy tom, it well be a well recorded crappy tom reguardless of what mic you put on it...