AKG Drum Set Concert 1 review

Pro-standard mics for any acoustic kit

  • £754
  • €888

MusicRadar Verdict

An impressive collection of microphones, which, compared to many cheaper sets, are akin to having ear wax removed and suddenly being able to hear everything in detail.


  • +

    Great microphones.


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While the Drum Set Concert 1 moniker strongly suggests this attaché case-full of microphones is intended for use in live environments, the microphones' versatility extends to studios, miking up bass/ guitar amps and for brass instruments too.


The case content includes two C430s (overheads), four D40s (snare and toms), and a D112 MKII (for the bass drum). Also included are stand clips for the C430 mics and four H440 clamps to attach each D40 to a drum rim.

The whole ensemble comes packaged and protected within a foam- lined, aluminium-reinforced attaché case.

Both the D40s and D112 are dynamic mics and capable of handling high volume without any distortion. While the tiny (8cm long) C430 condensers are each designed for overheads and will gather the higher kit frequencies that the dynamics can't.

In March we reviewed the D112 MKII with its familiar egg-shape design, and awarded it four stars - finding that AKG had in fact improved on the original with a pivoting as opposed to fixed mount.

Hands On

With the mics held tight in the charge of their clips, they feel solid and we are happy they won't suddenly pop/drop out and ruin a performance.

Aimed towards the centre of each head, initially with the EQ set flat, the sound is good and gets an enthusiastic nod. With a tiny bit of tweaking on the top end, to get a nice 'crack' of the stick striking the drums, the sound is immediately impressive.

We place the D112 approximately 50cm away from the inner head surface and opposite where the beater strikes. Angle adjustment away from or towards the head is easy as you don't have to move the boom, just the mic.

With the mid rolled-off slightly, a touch of top and bottom applied, here our familiar egg-shaped friend packs a huge punch with a clicky attack.

Setting those miniscule C430s way above the cymbals and about a kit's width apart, they work as a sonic Polyfilla, capturing any sound the other mic-set members can't and without any phasing issues.

Here we have a wonderful stereo image of the kit, stomping and splashing from the PA. There's a deep bottom-end rumble from kick and the larger toms, with the tight but ballsy snare and glassy, crisp cymbals - perfect, confidence boosting kit reinforcement.