Shure DMK57 52 Drum Mic Kit
105
WWW.MUSICRADAR.COM/RHYTHM MAY 2016 |
H
aving been impressed with the
quality of Shure’s new PG Alta
microphone range in recent
months, we now delve eagerly
into the industry leader’s latest drum-
specifi c offering - the new DMK57-52 mic set.
Build
Perhaps not quite such a catchy product
name but it does exactly what it says on the
tin. Aptly named due to its contents of three
industry-standard SM57 instrument mics and
a Beta 52A bass drum mic. The former is a
world famous workhorse of a dynamic
microphone, ideal for recording your snare
and toms but will also work wonders for
your hi-hats or even sound great used as an
overhead. The latter should also require little
introduction; another professional favourite
both on stage and in the studio due to its
low-frequency response (starting at 20Hz)
and durable design.
So, nothing out of the ordinary to report
here as of yet. The real fun starts with the
included A56D mounting systems (one for
each SM57). These black metal clamps are
designed as a rugged replacement for the
£ 4 5 9 Shure re-packages its tried and tested mics at a
discounted rate, with a rock-hard mounting system to boot
SHURE DMK57-52
DRUM MIC KIT
WORDS: TOM BRADLEY
typical plastic clips often supplied with drum
mic sets. The compact system uses two
separate pieces which open and close in a
jaw-like motion, controlled by a single
adjustable bolt. Once clamped, the
additional hex-shaped ‘L-adaptor extension’
is placed in position (either vertically or
horizontally) and the mic clip screwed onto
the top using either of the included small or
large lock nuts. Interestingly though, the
second piece can be completely removed
and reattached in a different confi guration
which instantly gives it the ability to clamp to
a cymbal stand, music stand, mic stand or
anything else you fancy.
Hands On
Due to the versatility in the positioning of the
A56D clamps, it is easy to fi nd a favourable
location for the 57s despite their length. The
hex shape of the L-rod ensures a fi rm grip to
the rim with absolutely no budge at all
(when I pulled on the one attached to the
rack tom, the kit threatened to topple over
before the clip moved a millimetre) although
it does slightly limit the angling possibilities.
The jaws open plenty wide, which is
PRICE
£ 4 5 9
FREQUENCY
RANGE
SM57: 40Hz-15kHz; Beta
52A: 20Hz-10kHz
MICROPHONE
TYPE
Dynamic
POLAR PATTERN
Cardioid
POWER
No phantom power
required
LEADS SUPPLIED
N o
TYPE OF
CONNECTOR
Standard XLR
CONTACT
Shure Distribution UK
01992703058
shure.co.uk
Essential spec
SM57
Famous workhorse mic ideal
for snare and toms, but also
great for hi-hats and as an
overhead mic
BETA 52A
Mic is a professional favourite
due to its low-frequency
response and durability
accommodating for deep rim sizes and bulky
cymbal stands. After an initial bit of clumsy
fi ddling with the mounts, it soon becomes a
piece of cake to quickly fi nd the mics
positioned beautifully on the kit.
Anyone who has experience with SM57s
will know that they are famous for the grills
rattling. The classic engineer’s trick is to
wrap tape around the neck in a bid to quell
the unwanted noise. With no tape to hand,
this became an issue with the 57 clamped to
the fl oor tom. On the plus-side though, the
clamp was quickly adapted and used with
half of an old cymbal stand found in the
corner of the studio.
VERDICT: Choice and versatility of
positioning whilst maximising valuable
fl oor-space means not only an easier
set up but also a much tidier one. Plus,
you can’t go wrong with an SM57 or a
Beta 52.
BUILD QUALITY
PLAYABILITY
VALUE FOR MONEY
RATING
RHY254.gear_shure.indd 105 3/23/16 3:36 PM