Those do look cheap.

I suggest Drum Claws.

Problem with them: If you tighten them in the wrong place they will de-tune your drum.

Plus for them: They can also be used to clamp a mic to a guitar cabinet!

this kind?

http://cgi.ebay.com/NEW-On-Stage-DM50-Drum-Mic-Clip-Rim-Mount-Claw-NR_W0QQitemZ280175172869QQihZ018QQcategoryZ47089QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

The DM50 clip is similar to the clips on the Senn E604, the angle doesn't give you much to work with.

These are far better:
http://www.zzounds.com/item--LBL592A

Don't you think that d-vice with a goose neck would provide more flexibility in mic placement?

The Audix D-vice looks like a similar variation, and lighter weight than the LP Claw - I haven't used a D-vice, so all I can compare to are the specs and pics.
The LP's are solid, but with that comes some extra weight.
They have a longer reach.

I wonder how much weight that D-vice gooseneck can hold?

The D-vise, when new, will hold an Audix i5/Shure SM57 and any of the D series mics. After its spent a few years getting moved around a lot it loses its 'staying power'....They damp better than most in a live situation and are infinately more adjustable than most others. For the studio you must have a stand that does NOT touch any of the drum mounting hardware, cymbal stands, kick drum hardware etc etc. The aspect of vibrations traveling to the open mic is something you want to eliminate entirely in micing a drumset. It takes a very sophisticated damping to totally do this.

While not very sophisticated, the LPs have rubber in the clamp and inside the clip mount - and as far as longevity, as long as you don't abuse them they'll last for many years (I've got some that are quite old - both the squared off style and the rounded ones).

I was concerned about that too, but d-vice's neck should absorb some of that. The main reason i am thinking about clips is that it gets so crouded with all the mic stands. I is hard to go somewhere with 14 or stands. Eventhough i've never seen any pictures from the studio that would have clips.

Eventhough i've never seen any pictures from the studio that would have clips.

Next time I track drums I'll take some pics for you.

So you are using clips and that does not cause any problems? That is really cool! Casu I honestly want to have about 6 clips: 3 for toms, 2 for snare, 1 for kick drum. And then 2 overheads, hihat, kick drum, and about 3 room mics will be held by stands. I do have enough mics, but not enough stands 8-)

I'll use them on toms, but not the rest of the kit.

If you throw a clamp on the snare and add the weight of, say, a 57 then you make the snare very unstable (most snare stands have a very small footprint). Adding another clamp will make it even worse.

For kick? I don't believe I've ever tried that, but then again, I'm sitting in a studio in a commercial space, so there is no traveling involved...

By the way, I'm waiting for a band to finish practicing and shortly I'll have those kick samples you were asking about (the 868).
I'll probably record some samples with a D112 and a 421 as well - for comparison's sake.

I'll let you know when I post them...

Cool Thank you!

For kick, I ment if i need sm57 for the beater but i am using midget stand for the actual drum mic. Do you have re-20 in your arsenal?

Not in the studio here.
At work I have some.
If you want to hear some samples with them, I might be able to make it happen...

We're beginning to get off topic a bit, aren't we? (Sorry Dave!)

I'll post those samples in about an hour, gotta get home and upload them.

Cool!
I personaly think that all mics in this price range will sound as mics in
this price range,
just with different characters and as we can see from this post, all of the got review,
I bought EV ND868 only because i only saw good reviews and one them said it sounds sort of close to re-20,
metallica's AJFA kick drum is exactly what we want on our recording right now.

I used to chase my tail trying to get the sound of Lars' kick.

I got pretty close a few times by doubling it and adding some distortion on the HF.

Edit> OK, I'm driving home now...

I hope we're not talking the kick drum sound on St.Anger!! Basically it sucked the life out of the drum sound.

Getting a great kick sound involves more than the mic. I know this is gonna sound preachy but here tis anyways..........

The HEAD is gonna make 90% of the sound. The drum edge itself is going to contribute to this 90% by at least 40%, so getting the leading edge of the drum nice and even is going to help a lot!

The SIZE of the kick is going to be another factor of at least 50% of the sound. I say 50% because with different heads this can change considerably. Some of the best HEAVY kick drum sounds I have ever gotten was with a 20" kick drum. It had three heavy packing blankets over it, an MD409 on the beater side, a D12 inside and an MD421 just outside the shell. The resonant head was cutout almost to the shell, just enough to hold a small light pillow that only touched the heads. There was a DW kick pad on the beater and no other damping. It RULED. I used a pair of Urie 7110 limiters and it was recorded with an old Tascam 520 board and 16 track one inch. You could barely hear it in the room it was so damped..

I digress...........

The PREAMP will have a LOT of effect on the sound. I dont think you need a real fast pre for this, but with speedmeatal of heavy metal with a lot of double kick, maybe so. Whatever, the slew rate on the pre has to be able to retain the tone and the attack but still let it linger for a moment. It gives that puffy yet heavy aggressive thud.

The ENVIRONMENT is going to be another 50% of the sound. Hardwood under the drum, dead corners in a room, reflective ceiling, all will contribute.

I guess my point is this.....No one mic is going to give you what you seek simply by sticking it near the kick drum.