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How's it differ from the 112 and 52. I use the 112 on the beater side and the 52 on the front/hole side.
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I've not used the D112 or Beta 52 hundreds of times like I have my trusty Beta 91 (my favorite by far), but I'll give this a go.
While I know people have gottent he D112 to work, it doesn't fit my idea of what a kick drum should sound like. It never has. When I pull up the fader to the kick drum, it's there, but it's like it is not there. I don't know how to describe it. It's not necessarily an attack thing because it seems that no amount of EQ seem to fix it (although I'm a bit hesitant to write that). That's just how it feels.
I remember the Beta 52 being in a similar ballpark, but maybe a bit more meaty sounding. It's been a while and I've only used the Beta 52 once or twice.
It's really hard to describe this in text. When I switch from a D112 to a Beta 91, I immediately say "Ahhhhh. There it is!". I still may end up EQing the shit out of it, but it's always a good sound right off the bat. The 91 has a way of highlighting all the good things in a kick drum mic.
The SM7 is not the Beta 91. It's different. It's more like what I would imagine a D112 is supposed to be. So far it's been dramatically punchier sounding in the 100-200Hz department without getting as cloudy. When I EQ the SM7 I feel like I'm able to get what I want. Regardless of the drum, I always seem to lean towards sample replacement when I use a D112.
So that's the short version.
In a pinch I can definitely use a D112 and it won't be the end of the world. It's like getting burgers when I'm really in the mood for pizza. In the scope of things it's not a huge deal.
However, to anyone who needs a kick ass workhorse mic that works on a variety of sources, the SM7 is very hard to beat. It makes sense to buy it as the main kick drum mic and main vocal mic.
Brandon