I have been fortunate to spend significant time using mics from Earthworks Audio. From their QTC omni line, the budget-friendly ICON USB mic [Tape Op #142], M23 Gen 2 and M30 Gen 2 measurement microphones [#171], and the drum mic kit packages like the DK6 Gen 2 [#165], which I have utilized on every session since I got them, they are beautifully crafted tools that perform day in and day out.
The newly updated DK7 Gen 2 drum mic kit is no different. It is an exceptional choice for engineers and drummers seeking a natural capture of the drum kit. The seven-microphone set includes four DM20 Gen 2 gooseneck cardioid condenser mics for snare and toms, two SR25 Gen 2 supercardioid condenser overheads, and one DM6 [Tape Op #160] supercardioid condenser kick drum mic. The DM20 Gen 2 mics have easy-to-attach rim mounts and come in individual pouches, while the DM6 has a versatile Triad-Orbit ball swivel mount for easy placement. The SR25 Gen 2s come with clips, and the entire set comes in a sturdy foam-lined, molded case for travel and storage. All mics in the DK7 Gen 2 require 24V to 48V phantom power, handle high SPLs, and are flawlessly designed and manufactured.
In use, the entire package is easy to set up and place. All the mics have excellent transient responses and capture a big, bold, and naturally realistic sound. I have written about the DM6 kick drum mic in the past; I love the sound of this mic half in/half out of the kick. It gets both the attack and body of the kick drum, and the combination with a Neumann U 47 FET or similar mic outside is fantastic. I have used the DK6 Gen 2 kit a lot recently. I love the DM17 snare and tom mics included with it for recording a drum set, especially for rock music applications. You can position the mics close to the heads, and the isolation is excellent. I found the DM20s from the DK7 Gen 2 kit to be good for rock music as well, but I liked them even better for jazz applications, where an open and more natural sound is desired. I mount the DM17 snare and tom mics from the DK6 package on the top rim, but the gooseneck design of the DM20s offers extra flexibility for mounting them on the lower rim. You can still get the mics close to the drumheads, and the mics themselves are quite small and unobtrusive. These mics capture a ton of detail, so ghost notes come through with clarity, but they also never collapse under loud hits. If you traditionally record snare and toms with mics like a Shure SM57 or a Sennheiser MD 421 (which are both fine choices), you will be impressed by the extra detail and clarity provided by the DM20s. The DM6 kick mic is the same in both the DK6 Gen 2 and DK7 Gen 2 kits, but the SR25s in the DK7 Gen 2 have an extended frequency range (up to 25 kHz), slightly lower SPL handling (148 dB), and higher sensitivity and lower self-noise than their DK6 counterparts. If you record one style of music more than another, this might be a consideration when choosing between the DK6 Gen 2 or DK7 Gen 2 packages. The DK7 Gen 2 does include one more mic for snare/tom applications. I have used both the SR20s from the DK6 Gen 2 and the SR25s from the DK7 Gen 2 and feel there was little audible difference in the scenarios in which they were employed. The DM6 kick mic is also a smart choice for recording a bass cab, and the SR25 Gen 2 overheads are useful for any scenario where you might use a small diaphragm condenser mic for precise recording of sources such as acoustic stringed instruments or percussion. Used as overheads, the SR25 Gen 2 mics captured a lovely and lifelike drum image. In fact, the overheads and kick mic were all I used for a couple mixes of an acoustic-based project. The artist was looking for a “natural” and “real” sound, and this combination delivered. Even with no snare mic in the mix, the SR25 Gen 2s captured a good amount of brushwork detail from the snare with a vivid “picture” of the kit. I have heard people describe Earthworks mics as “clinical,” “sterile,” and “clean,” but I would define them more as “precise.” Paired with an ultra-clean preamp, yes, these mics might sound "clinical.” They are, after all, capturing an incredibly wide frequency response and detailed image. But when paired with any mic preamp I own or those I use frequently at local studios – such as Neve 1073s, vintage APIs, or my more modern Burl B1Ds – they are simply fantastic and full of life and vibe. The whole DK7 Gen 2 package is a solid collection of microphones that removes much of the guesswork from achieving excellent drum sounds, but these quality microphones have plenty of other uses and will always find their way onto my recordings.