My favorites AKG D12 or D112. Also very useable, Sennheiser 421, EV RE 20. I perfer dynamics even for distance applications. LD condensers are not directional enough IMO and I hate to risk them in high SPL / wind blast conditions. Kurt
I use all LD all the time. I know Kurt does not agree with me, but I get a killer sound using an LD in figure 8 inside the kick, or an RE20 in the hole with a TLM103 or KSM44 about 1 to 2 feet in front.
I solve the directionality problem by building a little house out of moving balnkets and foam.
I can only assume that in wanting a distant kick drum mike you're lookin for the beef...might i suggest an ATM-25? this is what i use in conjunction with the close-mic at the head. this mike has a great range, is well damped and like cedar/kurt suggested a very tight pattern. This is not to be confused with the 'pro' series with the same number..these do not sound quite as distinct as the original.
Jazz kicks with no hole: Beyer M88
Audio Technica ATM25
EV RE20 (at the end of a second kick placed in front of the first)
New, pre EQ'd mics that you would only use on kick: Shure Beta52, EV868
Pillow Mic: Shure Beta 91
The figure 8 in the kick that Steve uses sounds very interesting. Jumps RIGHT outta the mix at you. I asked if it was oriented at the shell or at the heads - he said it was pointed at the heads.
Doesn't really matter anyway, since you've got 2 omnis in there, you're going to get some shell resonance anyway. Depending on the mic, it could sound peaky or smooth. Steve's sounded smooth, I think it was a Shure KSM44.
If you're looking for a distant room mic, you could try a PZM mounted to a piece of lexan to increase the low-end. Placed low - below the cymbals about 8' away from the drums, you'll get a nice drum sound if the room sounds good. If not, tight mic.
The room mics are always fun to mult and send one channel to a ridiculous compressor and return that to it's own fader that you can work against the fader of the non or less squashed signal. Gets a nice blap.