Shure PGA Drumkit 6
Drum Microphone Set
- PG Alta series
- 1x PGA52 Bass drum microphone
- 2x PGA56 Snare/tom microphones
- 1x PGA57 Snare microphone
- 2x PGA81 Overhead microphones
- Incl. 2x Tom holders and 6x XLR cables and case
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Available since March 2015
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Item number 360113
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Sales Unit 1 piece(s)
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Microphone Set For Guitars No
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Microphone Set For Drums Yes
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Microphone Set For Vocals & Speech No
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Microphone Set For Cameras No
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Microphone Set For Wind Instruments No
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Complete Set Yes
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Including Case Yes
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Amount Of Microphones 6
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Mic set with overheads for complete coverage
The Shure PGA Drumkit 6 builds on the close-mic foundation of the Drumkit 4 by adding two small-diaphragm PGA81 condenser overhead microphones, providing complete coverage of the drum kit – kick, snare, toms, and cymbals – in a single package. The PGA52 handles the kick drum, the PGA57 covers the snare, and two PGA56s take care of the toms – both mounted directly on the drums' rims via the AP56DM rim mounts included – while a stereo pair of PGA81s captures the overheads. Six 4.6m XLR cables and a carry case are included, with only stands for the kick, snare, and overheads required separately. Only the two PGA81 overheads require 48V phantom power from the mixer or interface. For drummers running a three-tom kit, the Drumkit 7 extends the same setup with an additional PGA56 plus rim mount.
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A very coherent ensemble
The close-mic layer on the Shure PGA Drumkit 6 follows the same logic as the Drumkit 4: the PGA52 on kick, PGA56 rim mounts on toms, and PGA57 on snare – all dynamic microphones operating without phantom power, covering the direct attack and body of each drum. The PGA81 overheads add the cymbal detail, room ambience, and overall kit picture that close mics alone cannot provide. Their 40Hz–18kHz frequency response and relatively high sensitivity capture the full harmonic range of cymbals and the natural decay of the kit in the room. Together, the close microphones and overheads provide complete drumkit coverage: The dynamic microphones deliver punch, crack, and definition at each drum, while the PGA81 overheads capture cymbal detail, stereo width, and the natural ambience that completes the overall drum picture. The balance between the two layers – and with it, the overall character of the drums' sound – is determined at the console.
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Stereo in the studio
The Shure PGA Drumkit 6 is aimed at drummers, bands, and engineers who need complete drum microphone coverage for both live performance and studio recordings. The addition of two PGA81 overheads extends the close-mic foundation of the Drumkit 4 with cymbal detail, stereo width, and room ambience, giving front-of-house engineers greater control in larger venues while providing the coherent stereo image that musicians and listeners expect in modern studio recordings. The principal consideration compared with the Drumkit 4 is phantom power, as the PGA81 overheads require two 48V channels from the connected mixer or interface. For drummers using three toms, the Drumkit 7 adds a third PGA56 and rim mount while retaining the same overall configuration.
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About Shure
The American company Shure began developing microphones during the early 1930s and is one of the pioneers of the audio engineering sector. Models such as the 55 Unidyne – known to many as the "Elvis microphone" – and the SM57 and SM58 which appeared in the mid-1960s are still ubiquitous in live sound production today. They enjoy cult status among musicians and technicians alike. In the 1990s, Shure introduced the first wireless microphones and in-ear monitoring systems and became a market leader in this field. In addition to microphones, Shure offers a wide range of earphones and headphones for studio and live use, as well as various accessories.
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From the first rehearsal to the first album
The Shure PGA Drumkit 6 gives drummers and bands many options beyond straightforward live sound reinforcement. In the studio, the matched PGA81 overheads add exactly the details that producers like to work with, while the close microphones retain the punch and definition needed to shape the kit in the mix. On stage, the overheads give front-of-house engineers greater control over cymbal balance and overall kit width, particularly on larger stages where audiences can appreciate a more natural drum sound. The PGA56 rim mounts keep the playing surface clear and reduce clutter around the kit, while the consistent voicing and construction across the PG Alta range deliver reliable, predictable results from venue to venue – so the mics demand little setup time and less EQ. The supplied carry case keeps the complete system organised and protected between rehearsals, gigs, and recording sessions.
