Tom mics

[Nama]

Hi!

I am an engineer for a club in Japan.
I"ve been looking for 3 tom mics, (hi tom, low tom, floor tom) since our 421s were completly broken after the use of 10 years.

I'd like to go with something smaller on this oppotunity since our stage is small, and placing stands is always a hard work, actually. Something that you can hold on toms would be great.

And, I need a good example of some known clubs using them.
What would be the standdard in US?

Thank you!

Best,

Nori

[LaLaFaV]

I like the Sennheiser e604's on toms. They're compact and clip right on the hoop. They seem to be pretty common in clubs. Whenever I play the Casbah here in San Diego, that's what gets used on my drums. They never feel like they are in the way when hitting the toms because of the small size.

[jonboyrock]

I'm a big fan of the Audio Technica ATM 25 for all tom applications. Great on kick aswell. Buy some LP Claws to mount on the tom.

JBR.

[LaLaFaV]

Originally Posted by jonboyrock

Audio Technica ATM 25

Those are cool too, although I've only used them in studios. I'm sure they would work great though.

[True North]

AKG C418's they don't get much smaller. Pretty nice sounding mics actually. They are condensors so they will require 48v. I have extras that i want to sell, pm me if you are interested, cheers.

[bobx]

a friend of mine suggested to me the audix D2 for toms... i also almost always used md421's. but i was pleasantly surprised by the D2. they have good natural EQ that works really well for smaller rack toms and also takes my plugin EQ's (URS) really well. for under $100 a pop, they're not a bad deal at all.

They are also pretty small which makes them super easy to place. however, i still like md421 for floor toms.

[PoorGlory]

Sounds like I'm the only guy that likes the Shure Beta 56's... awesome tom mics.

[jonboyrock]

I don't mind Beta 56's. I think the ATM 25's are better though, but whatever. At one point I used to really dig 56 on guitar.

[BB Edwards]

another vote for Sennheiser e604's here-one thing I can not stress enough about these mics is they are VERY easy to maneuver, and are only about 1 inch wide. Most versatile mic/mount combination I've used. The rim mounts on these mics work great, easy on and off and oh yeah-the mics also sound pretty good to boot! You can get these mics in useable positions on even the most cluttered of drumkits. I have been a freelance/house engineer in several clubs in salt lake city for the last 5 years. Everyone here have offered great suggestions, but another factor to consider for live sound is durability-AKG C418's sound great and are very small-but they are only 1 mis-stroke from destruction as soon as you mount them. Use them with caution. Another reason to go with e604's. Just get them. Seriously, I highly doubt you'll regret it.

p.s. I don't work for Sennheiser

[Thumper]

Another vote for the Senn 604's.

It all depends on what style of music you're playing.

And make sure that your DAMN DRUMS ARE IN TUNE!!! Nothing else matters if the drum sounds like the jolly green giant's little brother's ass. The jolly green giant's ass actually sounds pretty good.

[Bishbashbosh]

Sennheiser 604's - very solid, very reliable.
Shure 56's..... very solid. Punchy sound. Very reliable.
Audio Technica ATM 25-s ...... very solid. Not my cup of tea sound wise, but I know a lot of people who love them.
AKG 418's.... Utter shite. Poorly made, badly designed, sound terrible.

Just my experience....

I'd also suggest looking at the Shure SM-98's which are pretty much the UK industry standard for live gigs. They are a little less sturdy than the 56's though..... but the fact that the last ten or so tours I've done they've been used, probably says that they are pretty reliable.

[Thumper]

The 98s sound great. However, they are quite a pain in the ass to set up. And for a club, easy setup, tear down is VERY important. Sometimes there's 4 different drum kits in a single night.

Also, the tom mounts that come in the 98 packages don't latch on the to the tom rims very easily/securly. The boom arms also seem to wear out after a little while. They seem to get locked into a certain position after a few months, and the boom doesn't like to stay where you put it after that. They kind of go where they want. Makes the actual placement of the mic kinda hard.

The separate preamp with the little tiny cable sucks too, especially when speed is a factor. The little connectors are also a pain in the ass to solder/maintain, and if they ever go down, you might as well buy a new cable.

Another thing is durability. A few direct rimshots across the microphone, while adding a whole new level to the meaning of dynamics, kinda wears them out quickly. And then they crackle like a frozen pizza in the oven when you come home from a very successful night of drinking, decide you're hungry, and then decide that you're tired... and you forget all about being hungry... AND the pizza...

(For those of you who might not be into frozen pizzas, they crackle a lot when you forget about them.)

It's a shame, because they really do rock sound wise...

If I can vote again, I'd add another vote for the Senn 604s.

[Sonicvalley]

another vote, first for SM98s and then 604s.

[Aearth]

Definately the ATM 25.

Nick

[George Necola]

if it needs to be small: 604 for me

[funka]

Anyone knows/uses the new e904 on toms/snare/precussions?
They look pretty well-made and may be a step-up from the old 604s...

[nathanvacha]

Can I point out that maybe if you are used to the 421's and you dig them, that may be a good reason to stay in the family? I mean... 604's aren't 421's, you can get a whole set of them for less than the cost of one 421 new... but they're close and they sound good. And the clips get tricky when the drummer has rim-mounted toms, but that just means you need to maneuver themm -- they should still fit... not every other type will fit though, so keep that in mind as another advantage...

p.s. "onstage" makes a drum-mic mount that works great for suspended toms, so if anyone ever gets caught up, grab those... they work for tons of other mics too and they're like 10 bucks...

[doorknocker]

For me it's Telefunken 421s on toms, lately I also started using a SM7 on floor tom with pretty good results.

I wish I had 2 more IBP Jrs and some API Eqs though.....

[C/G]

Originally Posted by Thumper

And then they crackle like a frozen pizza in the oven when you come home from a very successful night of drinking, decide you're hungry, and then decide that you're tired... and you forget all about being hungry... AND the pizza...

(For those of you who might not be into frozen pizzas, they crackle a lot when you forget about them.)

Were you hiding outside my window last weekend? You pretty much described what was going on Saturday night at about 3 am at my place, but I like my pie a little well done anyway.

I just bought myself some Audix mics to use with my live kit. D2 for the rack tom and a D4 for floor tom. I'm a 421 fan as well and I think the Audix mics are fantastic. Give them a try as they aren't too expensive.

[dbbubba]

I have used the AKG C418s on live recordings and really liked them.
They were on the guy's kit (Rod Morganstein?) and I went with them.

I used 421s almost expclusively for years and I'd occasionally put a 414 on the floor.

Then again, they are both such expensive mics for something that it really pretty un-important in the scheme of things! Well, unless you are recording the Hawaii 5-0 theme.

I don't really even mind SM57s that much.
I try to limit the drummer to two toms anyways.

I have a nice pair of silver (nickle?) 414s that I resurected after drummers knocked the heads off of them. They were given to me and I ordered new frames from AKG nad re-built the mic. It wasn't easy because tI had to un-solder the wires connecting the two circuit boards, but it wasn't brain surgery. I call them "zebra 414s."

Also, forget Claws!
I can mic a kit WAY faster (live) with mic stands.
Claws are hard to position and it is always a compromise it seems.
They do take up less space, but they are a hassle!
In the studio they choke the drum's sound.

Danny Brown

[Thumper]

Originally Posted by Colin Gaucher

Were you hiding outside my window last weekend? You pretty much described what was going on Saturday night at about 3 am at my place, but I like my pie a little well done anyway.

You'll never know... ::evil laugh::

[jbuntz]

604 take 5 seconds to set up and come pretty scooped sounding which saves you the trouble of dropping some low mids. 98s are cool too and have better attack definition but are known to sometimes die when hit but are still reliable enough to be fairly standard in live sound.

[True North]

Originally Posted by dbbubba

I have used the AKG C418s on live recordings and really liked them.
They were on the guy's kit (Rod Morganstein?) and I went with them.

I used 421s almost expclusively for years and I'd occasionally put a 414 on the floor.

Then again, they are both such expensive mics for something that it really pretty un-important in the scheme of things! Well, unless you are recording the Hawaii 5-0 theme.

I don't really even mind SM57s that much.
I try to limit the drummer to two toms anyways.

I have a nice pair of silver (nickle?) 414s that I resurected after drummers knocked the heads off of them. They were given to me and I ordered new frames from AKG nad re-built the mic. It wasn't easy because tI had to un-solder the wires connecting the two circuit boards, but it wasn't brain surgery. I call them "zebra 414s."

Also, forget Claws!
I can mic a kit WAY faster (live) with mic stands.
Claws are hard to position and it is always a compromise it seems.
They do take up less space, but they are a hassle!
In the studio they choke the drum's sound.

Danny Brown

I can't stand claws - the concept was good but in application they are a nightmare

I like the 418's but Rod is also a redicoulously great drummer. He would have sounded good with Radio shack mics on him toms

[Eric Greedy]

well the clamp on mics for toms first..for live just to save stands.

But... idf you are usingstands and you want a great mic that si also cheap..just get sm58's they. They are great sounding on toms.

[chadly]

Originally Posted by Thumper

The 98s sound great. However, they are quite a pain in the ass to set up. And for a club, easy setup, tear down is VERY important. Sometimes there's 4 different drum kits in a single night.

Also, the tom mounts that come in the 98 packages don't latch on the to the tom rims very easily/securly. The boom arms also seem to wear out after a little while. They seem to get locked into a certain position after a few months, and the boom doesn't like to stay where you put it after that. They kind of go where they want. Makes the actual placement of the mic kinda hard.

The separate preamp with the little tiny cable sucks too, especially when speed is a factor. The little connectors are also a pain in the ass to solder/maintain, and if they ever go down, you might as well buy a new cable.

My thoughts after using them for several years is quite different. Not saying you're wrong, just that I've worked in a number of rooms with all sorts of different tom mics, the SM98s and Beta98s are champs. They're sooooooooo quick to set up! And I've never had any problems mounting them on a rim.

But that's just my experience. And to the original poster. . . do a search. This topic gets brought up every other week or so.

An old club I worked at here in the states used to use '57s with clamps. Wasn't spectacular, but it worked. I'd go with the Beta 98's if you're high profile, SM57s if your worried about kids beating on them.

Best of luck.