x
ProgTools 30 January 2011

Hi, I am going to be buying a new Kick mic for drum tracking at home soon and would like some recommendations on Kick Mics.
I would go for the AKG D112 but have never been a big fan of the sound it produces

I got my best ever kick sound out of a BeyerDynamic M88 at a studio i interned at recently but it is just too expensive for me at the moment, so does anybody know a similar but cheaper alternative to the M88 that i could look for?

Topic Tags

Comments

ProgTools Sun, 01/30/2011 - 10:09

Davedog, post: 362585 wrote: I use Audix D6 and ATM25 paired with a sub-kick. Have you used the search feature as this has been discussed numerous times. Also see the thread '12 samples of mics on kicks' It is up as a sticky at the front of this forum.

thanks and sorry no i only just joined i will do a quick search now.

ProgTools Sun, 01/30/2011 - 11:27

moresound, post: 362595 wrote: I don't go anywhere without my Sennheiser e602 or EV RE20

You might be able to find a used M88 for cheap if you look around on evilbay. :wink:

the sennheiser definitely looks quality and the sort of thing im looking for, its definitely on the list of options.

i dont know if i trust used mic's but if i saw a bargain i would probably go for it.

studiopa Mon, 01/31/2011 - 09:00

The D6 is sort of the default for the modern rock kick drum sound--I think of it as the post-90's D112. I owned a D112 and liked it for a while but eventually got tired of the high-end (4k?) bump that I couldn't get rid of.

Now I use a Sennheiser 421 on the inside for the "click" and a large diaphragm condenser on the front head for the "boom." The 421 isn't necessarily exciting, but I like getting a good clean and fairly neutral recorded kick and then using EQ to shape bumps and scoops to fit the particular drum and music style. The 421 is also a great all-purpose drum/guitar/vocal/whatever mic.

I also like the D6 a whole lot for heavier styles of rock--it's just not for everything.

studiopa Mon, 01/31/2011 - 09:41

Big K, post: 362769 wrote: m2c
Placing a LDC mic infront of a bass drum seems a daring thing to do for me.
The ultra-thin membrane is like a frail sail and the BD can move a lot of air...

Interesting, I've never heard of that concern before with LDC's, only ribbon mics. I've been using an AT4050 for years without issue. I'd be interested to know if any others would have the same hesitation.

Big K Mon, 01/31/2011 - 09:55

Over the years I had 3 U87/U89 killed by a brass instrument, a looney folley srtist and a not wind related accident.
I heard of 2 BD victims, though, from other Munich studios.
At least, I know the dudes at Neumann now, who repair and maintain the mics.
For me, using LDCMs on BDs would depend on the kind of music and the distance to the head, but
the habit of using dynamic mics for BDs seems still very reasonable.

I do not own any AT's, yet. Maybe their membranes are somewhat more sturdy. Definetely nice mics, though!

----------------------------------------------------------------------------
I just looked up the specs of the AT and the U87.
The AT can deal with a much higher max SPL up to 149/159 dB SPL against 117/127 dB SPL for the U87.
Also the membrane is a bit smaller with the AT. All this explanes well that the AT is more robust to high SPLs.
Interesting....

studiopa Mon, 01/31/2011 - 11:11

Big K, post: 362775 wrote: Over the years I had 3 U87/U89 killed by a brass instrument, a looney folley srtist and a not wind related accident.
I heard of 2 BD victims, though, from other Munich studios.

----------------------------------------------------------------------------
I just looked up the specs of the AT and the U87.
The AT can deal with a much higher max SPL up to 149/159 dB SPL against 117/127 dB SPL for the U87.
Also the membrane is a bit smaller with the AT. All this explanes well that the AT is more robust to high SPLs.
Interesting....

Thanks for looking into those specs and sharing you experience. I like the 4050 because I can use it in omni and eliminate the proximity effect you'd get from a cardioid pattern. It makes for a pretty smooth sound when combined with the dynamic mic on the beater. However, judging from your experience, I'll make sure never to put a U87 in front of a kick drum!

Jeemy Mon, 01/31/2011 - 15:58

I would second the Heil PR40. Although lots of people rave about it, I have to say I don't think it is in any way a world-beater. But its cheap, its sturdy, and it produces the same sound, more or less, than most of the other things about. Its technically a front-address broadcast mic and I make most of my money doing training audio for banks and pubs so it floats my boat.

For kick I have more mics than virtually anything else, D112, D6, ATM25, SM7b, PR40, MD421, 91A, 52A, D4, to name a few, and I have to say, I generally revert to the Audix D6. Primarily because I also own the D2s and a D4 and they make a neat, easy to put up, set for drums. Kinda like building a 5.1 or 7.1 home theatre kit, it works better if everything matches.

FWIW, I am a bit of an audio pleb and I have never, ever, ever had a complaint about my kick sound. If you aren't getting a good kick drum sound, maybe the mic is not to blame. I usually mic up via a JLM TMP or Sebatron pre, and all of the above give me a good sound. I think a preamp is better for kick tone than the mic, and some of the wackier ideas around here like a speaker to grab thud kind of imply that the mic is almost a diaphragm and no more, the real sound happens afterwards.

Big K Mon, 01/31/2011 - 16:01

Have you ever had audio problems using it in omni mode? I pick up too much of the rest of the kit if I try this at my place,
whereas cardioid pattern is working w/o any hussle...

-------
The AKG is a very usable mic for BD, but not the only one and not the best.
Much can be achieved with an additional room mic.
As I am looking for one more alternative BD mic, I will try some of those you all mentioned.
Thanks for the input!

Jeemy Mon, 01/31/2011 - 16:49

The PR40? I am probably being stupid, I thought it was cardioid or bust. For 'kick mic' I read 'front of head mic' and I usually place about 1" off-centre and about 1" off-skin with a high-SPL dynamic in cardioid or hyper. I occasionally put something outside the drum but for rock, I like click/punch/thwap on drums.

kmetal Tue, 02/01/2011 - 01:58

sm91 inside, d112 outside is the default at my studio.
I think a close omni kick mic is asking for alot of phase work. Floor reflections alone can intefere w/ the rest of the kit. add rear wall, front wall, ceiling, that's alot for a kick sound. Why not have proximity/axis rejection to work with on a bass instrument? its a big part of the tool kit.
In the book behind the glass, a lot of the producers/engineers claimed use a d12 for dynamic, and a U47 for condesnser on kick.

I'd be hard pressed to put my personal LDC close to any drum/guitar cab. The diaphram cannot operate properly, thats why even vocalist's need to stay 6"-1' away.
You'll notice the 47's were placed like 2 feet away on a kick, which is grabbing closer to the fundemental frequency, and more of the trash that needs to be cleaned out.
A monster kick drum can come from a set of overheads or room mics, with a great drummer, and great room.
My boss thought a 414 sounded great on a snare, until the drummer hit it. Cost $300 to fix.
There are no rules, and special effects are asked for, but the usual standbuys seem to please the public and engineers around where i work.

laemmle Thu, 02/03/2011 - 16:06

I've had good results with a senn 421. my friend taught me a trick of standing way out in front of a kick..like I mean 6 feet or more..and finding the spot where the sound "shakes your pant legs". I know it sounds funny but it works..it must be the point at which a long low frequency wave focuses. I should be more curious and find out.

x

User login