Shure PGDMK6

Shure have put together a complete drum mic package based on some of their individual PG-series microphones, specifically three PG56 dynamic snare/tom microphones, one PG52 kick drum microphone and two PG81 instrument microphones for use as overheads.

The PGDMK6 kit comes with six 15ft XLR cables and three A50D drum mounts, which clip onto the drum rims to minimise the number of mic stands needed to mic the kit. These are made from a very tough and springy plastic, so there's no mechanism to adjust, though it remains to be seen whether some non-standard drum rim depths will refuse to cooperate. The kit comes in a foam-lined, plastic carry case, apart from the cables, which are packed separately within the outer cardboard box. Though the set costs more than many imported drum mic sets, it still represents a big saving over making up a set using industry standard mics, and should offer a better level of performance than an entry-level drum mic set.

For me, the overhead mics are perhaps the most important part of getting a good drum sound, and, as you'd expect, Shure have chosen capacitor models for their extended high-frequency response; in this case, their PG81 back-electret model, which has the advantage that it can operate from an AA battery (two are included) when phantom power is not available. These have a nominal 40Hz — 18kHz frequency range with a cardioid pickup pattern, and feature shockmounted capsules to reduce vibrationally transmitted noise. They also have on/off switches to conserve battery life when not in use, and come with robust stand clips that grip them securely. Construction-wise, the PG81 mic has a confidence-inspiring solid metal body, which screws apart to access the battery compartment. It follows the expected end-fire 'stick' format, and the capsule is well protected. All the mic clips in the set have the larger US-style threads, but standard thread adaptors are included in the kit to fit the snare/tom mics onto the mounts, which have the smaller European thread.

The three PG56 mics are dynamic, cardioid models with a short, stubby profile that should help with positioning, though it beats me why nobody has yet thought to make a drum mic where the XLR connector exits at around 45 degrees, as this would help keep the connector out of the player's way. You could use right-angled XLR connectors, of course, though the cables provided are fitted with straight, moulded connectors. These PG56 mics have a 50Hz — 15kHz range with a wide presence hump, which suggests they may sound not unlike Shure's ubiquitous SM57, a very popular drum and instrument mic. The capsule uses a neodymium magnet and is shockmounted to reduce vibrational noise, which is important when mounting directly to drum rims. A tapered, hardened-steel mesh grille protects the capsule, while a secure swivel mount is integral with the mic body, so there are no clips to lose.

A single PG52 kick drum mic completes the picture, and like most mics of this type, it has a 'double hump' response to emphasise both the thump and click of the drum, without allowing the lower mid-range to dominate, which might otherwise lead to a boxy sound. Also a dynamic cardioid model, this mic has a 30Hz — 13kHz response and is fitted with a neodymium magnet transducer. The mic has a chubby, wide profile with the XLR connector on the rear, and comes with a similar swivel mount to the PG56. It is also of a similar length, but around twice the diameter, though there's no obvious way to remove the grille to check on the capsule size or construction. Both the PG56 and the PG52 have very tough wire baskets to protect their capsules from physical damage.

The dedicated bass drum model has a tailored response to emphasise both the thump and click components of the sound.

Though not hugely expensive, this set turns in a creditable performance both for live use and studio work, with the overheads carrying the general kit sound in a solid and detailed way with plenty of air around the cymbals. In studios and smaller venues, a lot depends on the room, of course, so in a small space, using foam baffles above the overheads to keep unwanted reflections out of the mics is a good plan. There's no problem with the PG56 tom/snare mics, though some users might like to add an additional mic (possibly a capacitor model) under the snare to get a crisper sound. The rim clamps worked fine on the kit I used for test purposes, and your options for positioning the mics are pretty flexible, as you can adjust both the tilt angle and the distance of the mic from the drum head. The way the clips are designed gets the mics into pretty much the correct position if you aim the capsule towards the centre of the drum and set it a couple of inches above the head. The sound is what you'd expect from a decent close drum mic: punchy and solid, which adds just the right character when you mix it in with the sound from the overheads.

There are more exotic kick mics than the PG52, but taking time to experiment with the mic position pays dividends. Moving it closer to the beater or closer to the front of the shell makes quite a difference, as does moving the mic between the centre of the shell and the edge. Often, the best sound is achieved using the mic off centre, hanging just inside the drum shell on a boom arm, though much depends on what size the hole in the front head is. You can also sometimes get good results just resting the mic on top of the damping blanket inside the drum. Once you find the best spot, the tailored response of the mic means you invariably have to use less EQ to get the sound you want than if you used a mic with a flat response. However, if you do need to use EQ, and most times you'll need to tweak the sound a bit, the frequencies you need to emphasise are all in there. For example, I tried boosting the low end by a few decibels while cutting a little in the 150Hz — 200Hz region and the sound punched like a heavyweight.

Unless you have a really nice sounding drum room or a very large stage with no nearby reflective objects, by the time you get to mics of this quality, there's little point in upgrading to anything significantly better, as their influence on the overall sound may well be less than that of the room itself. That said, this set is well placed to appeal both to the live sound engineer and to the semi-pro or project studio owner in helping them make the best of their drum kit and recording space. Those users who do wish to upgrade at a later date can, of course, replace individual microphones. The existing mics will always come in useful for other non-drum-related jobs, such as guitar amp miking. 0

Shure PGDMK6

Drum microphone kit