Shure 6 Drum Microphone Kit - PGDMK6
This kit includes pretty much everything you need to get your drums mic'ed up
and sounding great, whether it's in the studio or playing live.
When
most of us think about Shure microphones we think: great sound, excellent
quality and bulletproof reliability. Well the PGDMK6 lives up to all of these
expectations and even offers a few neat unexpected treats.
When you open
up the package the first thing that you notice is the heavy duty case for
storing your new mics or protecting them while in transit. The second thing
you'll notice is six 15 foot XLR cables to get you patched in right away. Nice
touch! Inside the protective case you've got the real goodies: one PG52 bass
drum mic, three PG56 snare/tom mics, two PG81 overhead mics and three A50D mic
mounts. Shure even goes so far as to include two AA batteries for the PG81
condenser mics to get you going if your mixer can't provide phantom power. All
of the mics have cardioid pickup patterns, meaning they only pick up sound that
is directly in front of them. This is
important both live and in the studio
because you only want the mic to pick up the sound source it's aiming at.
Getting the mics on the drums was a breeze, especially with the A50D mic
mounts. The A50D is unlike any other mic clamp I've used on drums, and let me
tell you I've tried them all. First off, the body of the clamp is a single piece
of extremely hard yet slightly flexible plastic which helps in isolating the mic
from the drum's direct vibrations. Integrated within that is a single threaded
knob for screwing down the mic. This design means there are no parts to lose,
which is an added bonus. Attaching the A50D to the rims on my drums was no
problem, as they're designed to fit
basically any production drum rim. Since
the clamps are plastic you don't have to worry about the finish on your drums
getting scratched or marred during install or removal. The PG56 snare/tom mics
have integrated clips - they thread right onto the A50D mount and can be placed
and angled exactly where you want them.
All of the other mics set up in
a matter of minutes: the PG52 on a short mic stand and the PG81s on a pair of
tripod boom stands. I placed the PG52 about 5 inches from the resonant head of
my bass drum aimed at beater. The PG81s were arranged as a spaced pair: one
above my crash and high hat cymbals and the other over the ride cymbal.
Well now that you know how easy it was to set these mics up I bet you're
wondering how they sound. In a word: Excellent. After patching these in I had
great sounds in a matter of minutes with very little tweaking placement wise and
no equalization. The PG52 was able to capture both the attack and body of my 18"
x 22" kick drum. It was easy to go from a warmer, more vintage tone to a very
focused, modern tone with a sharp attack simply by moving the PG52 from the
outside of the drum to the inside. The PG56s were a perfect complement to my two
toms and snare. My kit
features coated heads all around and the PG56s
captured all of their warmth, openness and tone. The snare had a wonderful crack
to it, and I was actually able to take off some of the dampening I had applied
when using other mics because of too much ring in the recording. Bringing the
whole kit together was an easy task for the PG81s. Placed about six feet apart
and four feet above the kit they captured a wonderful, glassy sound from the
cymbals and never got overly bright or harsh. The PG81s also did a great job at
adding some attack and room ambience to the kick, snare and toms.
Dry Hire - £25.00 Per Day
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