Kick Drum Mics?

[junkhead]

I'm looking to get a dedicated kick drum mic and I'm deciding between either the Shure Beta 52, Audix Impulse D6, and AKG D-112. Anyone have any experience with these and have suggestions?

It will be used for everything from metal to acoustic singer/songwriter things to electronica/ambient type projects. So, I need something that can be used for a wide range of music styles.

Thanks

[brandondrury]

Well, I noticed you didn't have the Shure Beta 91 on your list. It's the flat mic that looks like a PZM. It's the only "kick drum" mic I've ever owned although I've used RE20s, SM 7s, AKG 414s, Soundelux U99s, Sm 57s, and 4050s with good results.

I really like my Beta 91 and I'll tell you why. Part of being versatile in the kick drum arena comes with mic placement. I can slap my SM 91 right inside that kick drum without any problems. You'll have a hard time getting a D112 to sit in a kick drum the same way.

For metal, I've never had a use for micing the outside of the kick drum. For other styles of music, that may be much different. So, if I need a mic with lots of attack, I'll slap the Sm 91 deep inside the kick drum. If I need a big low end wallop, I'll put a mic just outside the kick drum. (Usually a condenser, actually although makes like the D112 and Shure Beta 52 have down okay in this situation). For most projects, I really like the one mic inside and one mic outside trick. I've tried many times in mixing to just use the outside mic, but not once have I been able to completely take out the Sm 91. It just sounds better to me and my tastes for just about every project I've ever done.

Brandon

[DogpitStudios]

I own the 52, and have had the pleasure of playing around with the D6 for about a month. I'll say that the D6 for some reason will sound good anywhere you put it, on anything you put it on. there is something about that mic that just makes any bass drums sound, like a bass drum. The 52 is what I'd prefer though for that ultra click and low end driving metal bass drum. The D6 is a little less aggressive in the low end and has a bit less of a click, though it's a very very aggressive mic in terms of where the track will sit in the mix. I have used my 52 for funk and lighter stuff, with pretty bad results mainly because of the fact that the drum was not in any way in tune and sounded like crap in the room itself, but I would put money on the D6 sounding pretty good with out being anything special in that situation. I'm basically getting at the fact that the 52 has always seemed to be more true to the bass drum, and style that it likes. You really can't get that jazz thud out of the 52.

Obviously I'd rather have both considering that they are two COMPLETELY different mics, but I assume that isn't an option for you. If it is, get both! Believe me you'll thank me later. Hope this all helps.

Good luck,

Ben

[junkhead]

Cool, thanks for the replies. I actually own a Beta 91, which sounds great. However, I want another kick mic to place outside and away from the drum to have a room sound available. Then I'll have the option of mixing the 91 inside the drum and the other mic.

I've been using a SM57 a few feet away from the bass drum for this effect, but I'd like something with a little more low-end.

[brandondrury]

Since you are looking to do the exact same thing that I've been doing for years, I'd recommend two different options.

1) The Wagener method. You put a SM 91 inside the kick drum for the attack (but still a nice bottom) and then you put a Yamaha subkick on the outside. It's tough to beat the girth of the Subkick. Another advantage of this system is there is no high end bleed in the Yamaha Subkick to speak of. So you can compress it, gate it, or whatever without any wierdness. Leakage can be a good thing, but in my experience, it can be problematic with the outside kick drum for whatever reason.

2) The LDC (large diaphram condenser method). Next to the subkick, you will be hard pressed to find a mic with more deep low end than a LDC. I've done this with tons of condenser mics. I've never had one that sounded bad.

If you have a tremendous mic collection, it may not matter, but my advice would be to pick up a LDC with the intention of getting a mic primarily for vocals and using that as your outside mic. This is just my advice, and as most the big dog recording guys say, "Your Mileage May Vary". As stated above, I've had great luck with my U99, AKG 414, and AT 4050 on kick drum. All three of these are respected for their vocal abilities but can deliver some massive low end.

Brandon