The Lauten's cost about 150% more than some of the mics you mentioned & 300% more than a SM57 So yes, they should be better at helping guys like me who aren't professional audio engineer's😛 Someone like Flood Ellis can make Larry Mullen Jr's drums sing with an SM57 (Just listen to the Joshua Tree Album). But that takes talent & know how.😉

@@dilankarun9172 Yeah. For sure skills count more than equipment. still, I dont think he had much of a choice back then. 😅😅😅 and honestly, with the comparisons I made, You would never chose a 57 not the others I mentioned over the Tom Mics (Sound wise). On the price part: Yes and no. SE V7 has been dominating the market with a price more competitive than SM58. rivaling beta58’s and more expensive thing. Just saying that because, I dont think the price matters. Just whats offered and the sound result. Unless it is a 1000€ diference and the sound result is 1-2%.

So are you saying he mic'd the toms on Joshua Tree, with 57's?

@@efmchale I was referring to the snare in comparison to the Lauten Snare Mic. He also used a SM57 for snare on Actung Baby.Not saying the whole kit was mic'd with 57's. Shure SM57's was used for rack toms and snare, Electro-voice RE10 on the hi-hat and AKG D190's & Sennheiser 421's for the kick and the floor toms. They also mention Neuman's on the kick drum (Didn't mention which one's). I personally prefer the Audix i5 or the even better sE v7x (same price as a SM57) I don't think they were around back then 😛. Let's not forget Michael Jackson used a SM58 for his Thriller Album ☺

@@Rubenvalente20 Agree, I love the sE's .

Same idea applies. The overheads are setting up your overall tone of the kit, and these specific mics are adding body and reinforcement to punch the sound through with less bleed from other sources. Especially in tight situations with a crowded stage, it's probably working better for live than even the studio.

Yeah for him it was “Use a dark mic”. A ribbon worked really well for him. At the time I had a Rode NTR and a AEA R88 that worked well for him. An AEA R84 would be the same. You might be able to try the Beyerdynamic M201 which is a dynamic but also kinda dark. SM7B worked well for him too but the ribbon was way better. For eq, I’d do a tilt EQ, like was ProQ3 has or use a Pultec style EQ plugin. Big broad moves and nothing too pointed. Thanks for the cool comment. I can tell you’ve been around for a while to have known about Flint!

@@creativesoundlab been here a looong time, friend, maybe 2017 or so? From right when i started learning, i clicked with your practical methodology. Glad to see you back at it with fresh eyes and ears. Thanks for the tips, and helping me form my philosophy from ground up!

Huh? They're in the same price range as RE 20, sm7b etc. Just a slight bit more but orders of magnitude better.

@@siriusfun but you need at least 4 of them for drums, that's an issue

Buying one at a time is still effective.

I have a million questions as these mics have intrigued me for awhile now! 1. Would you say that the Tom Mic sounds BETTER than the LS-308, but the 308 has better rejection? 2. How would you compare each one to other mics that you've used before? 3. Do you end us using things like Saturn 2 or Black Salt Audio Silencer to totally eliminate cymbal bleed? 4. What genres of music are you usually tracking these days?

​@@BeatsAndMeats 1. I won't say the Tom Mic sound better, but they're more flexible with the extra boosts, cuts, and pads that can help. They're smaller and easy to place on kits with a ton of cymbals, hardware, and accessories. However I still love the sound of the LS-308 on top and they need only a gentle top end shelf boost in some but not all sessions. I record top and bottom toms in pretty much all tracking sessions with only a few exceptions, and I think the Tom Mic is ultimate in that role. However, I wouldn't be sad if I only had the Tom Mic in a session. Their rejection is still great. The beauty of a condenser on toms is that you don't have to record the bottom head to get a huge full range capture of the drum, so you can easily get away with 1 topside mic and have a wonderful drum track. I should also add that I have an embarrassment of riches when it comes to microphones so I am spoiled. Understand that I only nitpick between these two microphones because I can. In any situation either the LS-308 or the Tom Mic will preform admirably. 2. I own or have used pretty much everything on toms you could imagine from U67/U87's, 251's, to the old school 421 and a ton of other purpose built tom mics like those from Audix and Earthworks. Unless I'm recording the best of the best session drummer (like Steve Gadd where I could get away with a 251 or quality LDC Neumann) who has ultimate volume control of the kit, the LS-308 & Tom Mic are my absolute number 1 picks. Nothing else compares in my opinion. The sound quality and tonal quality plus rejection creates an instant usable commercial drum track. If I had to compare either LS-308 or Tom Mic to a specific microphone it would probably be a Josephson e22S, except the Lauten's are slightly rolled off on the top end and the Josephson doesn't have the extreme rejection. 3. I will only gate if the toms are going to be absolutely crushed with a super fast compressor like a diode bridge or a bunch of 1176's. If I'm doing a really tight hardcore metal drum track I will gate, but that's kind of out of habit more than needing to. You just reminded me to stop doing that. 4. I record everything from classical orchestra to bluegrass, country and western, to pop, rock, metal, and death metal. Edit: If you have more questions I'll answer them.

@@BeatsAndMeats I had a chance to check out some of your drum videos. I've gotta ask.. Why all the Audix D6's on the toms? Those are designed to scoop out the mid range while boosting the extreme top end and bottom end. You definitely need those mids on toms.

@@legacyShredder1 Great... now I'm gonna have to get one to try out haha! It sounds like they're great, all-around genre-agnostic tom mics. I have a studio where I track drums only, all different forms of metal, whether its me doing session work or other metal drummers who can play my kit. I've had the most success using CAD M179s, D6s, and now Shure Beta 98s on all my toms. I think the D6s actually sounded the best but the bleed on them is pretty harsh. The M179s sound fantastic but they really need to be pretty far away from the drums to get the clarity on the attack, and I have a rather "intricate" setup which makes it impossible to use on the rack toms. And the Beta 98s are so small and easy to position, with good but not great bleed rejection and a surprisingly nice low end, unlike the Earthworks DM20s which I found to be way too thin sounding. I've never gotten to use the Josephson mics, but boy oh boy do I wish that I could. But my kit has 6 toms so that would be like $10k to outfit the entire kit, and if the Lauten mics can get real close to that sound for 1/4 the price, that sounds pretty sweet! Do you have a go-to positioning for the 308s on your toms? And do they maintain clarity when you have them pretty close to the toms?

@@BeatsAndMeats Genre can change how close or far I put the mic. I saw your videos with the melodic metal. For that I would have them 3-5 inches away from the rim with the capsule overshooting the point of impact of the stick by a couple inches. So if you're hitting in the middle of the head with the stick I'd have the capsule point an inch or two past that. The LS-308's should be light years better than a D6 on toms. A D6 is way too scooped for a tom, and the bleed with cymbals is going to be extremely harsh. It misses too much body of the drum.

Or maybe even: Record faster, mix less! :D

I agree ​@@semilumi