I've always been a fan of using dynamic microphones on drums; they always sounded great, and were rugged enough for live sound applications as well as studio abuse. An engineer friend swears by the Shure Beta 98 -- a supercardioid condenser microphone -- and convinced me to try one on toms. I was skeptical, as condensers sometimes don't handle the high SPLs for close-micing drums as well as a dynamic. After the show, I couldn't make it back to my computer fast enough to buy a pair.
Exceptional build quality
The Shure Beta 98 D/S is an exceptional quality ultra-small-diaphragm condenser microphone, coupled with a well-built microphone clamp. As with many of Shure's products, build quality is absolutely top-notch, with a couple exceptions.
The Shure Beta 98, itself, is a very small microphone attached to an "active cable", a cable which goes between the microphone element and the preamp stage itself. The preamp stage is in a robust XLR connector, which can be plugged directly into a snake or mixer without the need for an extension cable.
The microphone clamp supplied is of incredible quality; using two different positions, the clamp can be changed between two different sizes, allowing clamping on virtually anything, from drum rims, to guitar amps, to percussion.
My only concern with the Beta 98 D/S system is a few weak spots I've noticed after several sessions of use. The mini-XLR connector on both the preamp and the microphone capsule isn't attached the best; it can easily come out if jiggled in the right way -- or hit with a drum stick. Also, the mini-XLR connector can break easily -- a hard lesson I've already learned. A replacement cable is sold for around $20 -- but finding one is a chore.
Despite the weak elements of the cable -- and replacement cables are cheap -- the Shure Beta 98 D/S is built well, to withstand years of abuse on stage or in the studio.
The Shure Beta 98, itself, is a very small microphone attached to an "active cable", a cable which goes between the microphone element and the preamp stage itself. The preamp stage is in a robust XLR connector, which can be plugged directly into a snake or mixer without the need for an extension cable.
The microphone clamp supplied is of incredible quality; using two different positions, the clamp can be changed between two different sizes, allowing clamping on virtually anything, from drum rims, to guitar amps, to percussion.
My only concern with the Beta 98 D/S system is a few weak spots I've noticed after several sessions of use. The mini-XLR connector on both the preamp and the microphone capsule isn't attached the best; it can easily come out if jiggled in the right way -- or hit with a drum stick. Also, the mini-XLR connector can break easily -- a hard lesson I've already learned. A replacement cable is sold for around $20 -- but finding one is a chore.
Despite the weak elements of the cable -- and replacement cables are cheap -- the Shure Beta 98 D/S is built well, to withstand years of abuse on stage or in the studio.
Sound quality
Sound quality of the Shure Beta 98 is exceptional; I was very impressed with them on toms, especially when the drummer tuned well!
The sound was very full and powerful, with exceptional response to EQ. I felt like the Beta 98 offered much better "snap" compared to dynamic microphones used on the same drums. I also found the low-end response to be much, much tighter.
The Beta 98 also sounds fantastic when compressed; the signal responded well, and with careful use, compression made the tom sound really stand out.
I tried the Beta 98 on snare, and really enjoyed the results. For a jazz player, the Beta 98 with no gate and very little compression sounded absolutely fantastic, especially for brushed snare.
I also found the Beta 98 to sound absolutely incredible on snare, if used on the bottom; in combination with a good snare mic (Shure's Beta 57 is one of my top choices), it gave a really exceptional snare sound.
I also tried the Beta 98 on percussion, which is where the included clamp came in very handy. It sounded impressive on conga and timbale, but fell short on cajon. Overall, I was very pleased with the sound quality from the Beta 98.
The sound was very full and powerful, with exceptional response to EQ. I felt like the Beta 98 offered much better "snap" compared to dynamic microphones used on the same drums. I also found the low-end response to be much, much tighter.
The Beta 98 also sounds fantastic when compressed; the signal responded well, and with careful use, compression made the tom sound really stand out.
I tried the Beta 98 on snare, and really enjoyed the results. For a jazz player, the Beta 98 with no gate and very little compression sounded absolutely fantastic, especially for brushed snare.
I also found the Beta 98 to sound absolutely incredible on snare, if used on the bottom; in combination with a good snare mic (Shure's Beta 57 is one of my top choices), it gave a really exceptional snare sound.
I also tried the Beta 98 on percussion, which is where the included clamp came in very handy. It sounded impressive on conga and timbale, but fell short on cajon. Overall, I was very pleased with the sound quality from the Beta 98.
Overall impressions
Please note, the Shure Beta 98 D/S has been discontinued as of 2011; in it's place, Shure has released the Beta 98A, an updated version, priced at $229.
Originally priced at $239, these microphones aren't the cheapest, especially when you consider that Shure's $99 SM57 does a fantastic job on toms. But if you're in a situation where you want ultimate sound quality a condenser microphone can offer, combined with the flexibility of a small, compact microphone with multiple mounting options, the Beta 98 is a great microphone choice.
The biggest problem was, again, the construction quality of the mini-XLR connector cable. In both failure scenarios I've had, total microphone failure came only from the failure of the connector. It might be worth taking the time to carefully wrap each mini-XLR connection point in a small amount of electrical tape to avoid a costly cable replacement.
Originally priced at $239, these microphones aren't the cheapest, especially when you consider that Shure's $99 SM57 does a fantastic job on toms. But if you're in a situation where you want ultimate sound quality a condenser microphone can offer, combined with the flexibility of a small, compact microphone with multiple mounting options, the Beta 98 is a great microphone choice.
The biggest problem was, again, the construction quality of the mini-XLR connector cable. In both failure scenarios I've had, total microphone failure came only from the failure of the connector. It might be worth taking the time to carefully wrap each mini-XLR connection point in a small amount of electrical tape to avoid a costly cable replacement.