the d6 has a quieter output. but it can (afaik) be pushed harder. its a great kick mic

twon

the d6 has a built in pad switch,its also got a boost pretty high up in the base which is ok for more pop stuff.but more chest than stomach.
very overated and muddy if you ask me!
the choice of mic would also depend on the size of the basedrum to me.
a 22" inch kick has its natural thump higher up around 120-200 for exampel.get a sennheiser md 421 in combination with a yamaha ns 10.

Frankie8 wrote: the d6 has a built in pad switch,its also got a boost pretty high up in the base which is ok for more pop stuff.but more chest than stomach.
very overated and muddy if you ask me!
the choice of mic would also depend on the size of the basedrum to me.
a 22" inch kick has its natural thump higher up around 120-200 for exampel.get a sennheiser md 421 in combination with a yamaha ns 10.

What are you talking about? The d6 is kinda known for its use in the metal genre, which I wouldn't call pop. Very overrated and muddy? Muddy? I've tried the beta52, d112, and d6 all were kinda different and I wouldn't have considered any of them muddy. d6 had the best combination of that 3khz boost and low end, i'd say is a very clear, tight, mic.

I like my D6, but I do want a Senn 421. Mostly so I can compair the differences, (which should be drastic) and switch them around from time to time, on the kick. I'm starting to think that 2 mic's (or channels) for the kick is the way to go. One track for the "tick" and the 2nd track for the "thump". It seems to be too much EQing to get that polished sound. That still is only so close to perfect.
I have yet to prove this theory. Anyone disagreeing please comment. It might save some time, when trying new ideas.
And if you own some $300,000 Neve console with full blown pro tools, please don't tell me how you do it on 1 track. It will only make me sick. :x

StevenColbert wrote: I like my D6, but I do want a Senn 421. Mostly so I can compair the differences, (which should be drastic) and switch them around from time to time, on the kick. I'm starting to think that 2 mic's (or channels) for the kick is the way to go. One track for the "tick" and the 2nd track for the "thump". It seems to be too much EQing to get that polished sound. That still is only so close to perfect.
I have yet to prove this theory. Anyone disagreeing please comment. It might save some time, when trying new ideas.
And if you own some $300,000 Neve console with full blown pro tools, please don't tell me how you do it on 1 track. It will only make me sick. :x

I've used 2 mics on kick and typically i only use one in the mix and that would be the D6 inside. Its all about the kick drum tuning. Sure, i still use some EQ but I think everyone does on any drum for any rock guitar driven music.

Well, I was reading that some use a Shure SM57 on the beater side, and an Audix D6 in the front hole of the bass drum.

I get good results with the EQ on one channel. But once I tune in the perfect "click" then I need more lower end, for the "blam". This is why I want one more channel, for the lower end.
Hope this is still making sense.

I used to do the 2 track technique but discovered that good tuning, good mic placement and good playing and the proper eq on one track gives me a sound I like. I takes practice but once you find the right combination of those things you'll get what you want in one track.

Thanks, I will remember that. And I can believe it. I used to have a hard time getting killer bass tracks, and then I started doing 2 tracks at a time because it was the only way I could get good enough bass tones to be loud and outfront. Then after years of trying harder and harder, now all I need is a bass, a SansAmp DI and my API 3124. The tones I get on 1 track now are ridiculous. But only after years of wondering what it was gonna take, and what I had to do to get it right.
Thanks for the comment

I always use two mics. I don't really run across the audix in any studios so I use a 421 or D112. I like the Nueman FET 47 in front but have gotten great sounds with Yamaha sub mic and also a Shure KSM44 I think it was. Any way I always EQ them seperately and print them to one track. I believe you should create a killer sound and build from there. Two tracks always ends up with you chasing a roough you did and as you add stuff the balance changes. Print to one track during basics and make your over dubs fit the basics.

the problem with the d6 is that when people hear it by it self they hear
the sub boost and go "wow thats a lot of attack"
but it never sits right in the mix with the rest of the kit in the studio.
it is so coloured in its sound so that by the time your done with the eq cutting out the 200 to 290 frequency to make it sit in the mix...
not much attack left!
also a sennheiser md 421 can be used on so many other things as well
check out recordermans yamaha ns 10 mic on the forum.
also check out his drum overhead mic technique!saved my life...!

I use the two mic setup from time to time...sometimes three! At tracking its all about your options later on. By saying that, theres also too many choices! So, what to do what to do??!!

There is no doubt that a properly tuned kick drum goes a very long way down the path of righteousness in getting that killer sound. But you say, 'Er, Davedog, whuts the proper tuning?'

Simple, the one thats right for the tune. And not all tunes are going to sound right with the same old kick drum sound involved. In the quest for the killer kick drum, theres a LOT to be said for having two or three kick drums of varying sizes , heads, and tunings. This is WAY WAY cheaper than trying to acquire a crapload of electronic gear to bandaid up the need and is the best step in the process.

Dont be afraid to try out that little 20" kick drum on heavy rock music. A big double-pedal part with a real tight and low tuned 20" kick is really quite the deal. The smaller drums are quite a bit quicker to respond, have fewer overtones to tame, can be tuned lower and retain the 'feel' of the head, and are easier to fit into a miced up set.

If you like that huge sub-bass,overthetop, Bonham kick sound, dont forget to record in a great big open ceiling room.....And play like him....

In lieu of having a Neumann U47fet laying around for use on yer kick, try my budget setup............

I use an Audix D4 in on the batter....right down close to the beater contact point. I use an ATM25 inside the drum and move this around according to how much 'body' I'm looking for in the drum itself. I'll also use a Studio Projects B3 out in front down low for that size we all seek in the kick drum sound. Pair this mic with a room mic or two and sometimes you wont need anything else.

As in all things audio, you could substitute with relative ease, any of the aforementioned mics ie;D112,D12,D6,MD421,etc etc etc....for the ATM25 and its role.

What Davedog said...the tuning goes a long way. Worst case example I had in the last year was a floor tom that was about 3-5Hz off the bass fundamental. The beat frequency generated almost sucked my eardrums outta my head. 20 0r 30 years ago, tuning drums to the key of the song was standard, or at least in the general neighborhood.
For mic endorsement, my favorite is the Sennheiser e602 in front, e604 tom mic clipped to the bottom rim of the floor for the clapper side.