Kick Mic - Which One??

PressRoll

PressRoll

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I am ready to purchase a kick mic but I am really struggling with what to get. I do not have a professional recording setup and I cannot afford high end equipment. Right now I am using a four track interface and the Glyn Johns method for recording. I am using two AKG P220 mics as the overheads and a Shure SM57 for the snare mic. Here's where it gets tricky, I want a kick mic that I can use for live as well as studio, rock as well as jazz, bass drums with or without a port and bass drums that are 22", 20" and 18".

Here are the ones I am considering:

Audix D6
Sennheiser e602 II
Sennheiser e902
AKG D112 mkII
Shure Beta 52a

Can anyone weigh in with what you think would work best for me?
 
I'd say you can't go wrong with the Beta52. I think I even saw it as a request on a Bill Stewart stage rider: seems to work even for a high, unmuffled 18" jazz sound. And everything else I guess.

Has anybody tried the D112 MKII?
 
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Don't rule out the Beta 91A. I have two of them now, and I much prefer them to the Beta 52, D6 and D112's that I own/owned.

Out of all of them, I think you can cross the D112 off your list. It has a very "dated" sound. I used one inside my primary gigging kit for a little under a year, and time after time I had engineers insisting to use their own mic when they found out what I had.
 
PressRoll said:
Don't rule out the Beta 91A.
Click to expand...
Is it possible to use a Beta 91A with an unported bass drum?
Click to expand...
Yes,
You can use a Kelly SHU Flatz mount and the May no drill bass drum connector. I am doing this with my N&C kit as soon as the May connector arrives.
 
I love the Beta 91a as well.

Tommy Wells renowned studio musician recommended the Shure Beta 52a to me and I far prefer it to my former AKG D112.
 
Also, Audix D4 makes a fantastic kick mic. It was their kick mic prior to the D6. I prefer it over the D6 in most cases for its flatter, less colored response.
 
I use the Sennheiser e602 with really good results.
95% of live sound engineers (I've worked with) use the Shure beta 52a. For the recording studio . . . I would pose the question on one of the sound/recording forums such as Steve Hoffman.
Good luck, and let us know what you end up with.
 
My Beta 52 has been going strong for almost 20 years. No issues. Sounds great.
 
Do you have chance to do EQ:ing afterwards? I think that is the most relevant question when choosing the mic.
While Shure Beta 52a is probably most popular bd mic, it's actually requires quite a bit of EQ:ing to get good bd sound with it. On blind tests I have always ranked it last, before any processing has done to the sound. While it's often desirable to have more neutral and flat response on, let's say, vocal mics to start with, I have found that the relatively flat response of Beta 52, never sounds good on the bass drum as is. Without the EQ the sound is always mid-heavy, almost thin to my ears, and mids need to be scooped out and bass needs to be brought up. While EQ:ing is normal procedure in the studio or on gigs if you have good sound system, sound engineer and time, the Shure Beta 52a might be a problematic choice if you gig with sound system that don't have good equalisers, don't have time/possibility for sound checks or you need to do the mixing from the stage etc. Or if you are recording drums through a mixer and need relatively ready sound from the bass drum, then I would also recommend something else, like Audix D6 for instance. D6 has always sounded really ready and good with very little EQ:ing, it has more bass response to begin with etc. It is also bit smaller, so you don't need nearly as big port hole in the bd head, ESPECIALLY if you want to put the mic inside the head. Shure is quite bulky and awkwardly shaped, and it's actually difficult to get in a position where it's bit inside the port hole, closer to the batter.

Edit: I 've heard some say that they want their mics to be as natural and neutral (eq-wise) as possible. But bass drum mics are VERY coloured to begin with, that' how they are designed to be. So selecting, for instance, Shure 52 over D6, because Shure is flatter, is bit like going to Burger King instead of McDonalds because of health reasons. :D
 
Markkuliini said:
Do you have chance to do EQ:ing afterwards? I think that is the most relevant question when choosing the mic.
While Shure Beta 52a is probably most popular bd mic, it's actually requires quite a bit of EQ:ing to get good bd sound with it. On blind tests I have always ranked it last, before any processing has done to the sound. While it's often desirable to have more neutral and flat response on, let's say, vocal mics to start with, I have found that the relatively flat response of Beta 52, never sounds good on the bass drum as is. Without the EQ the sound is always mid-heavy, almost thin to my ears, and mids need to be scooped out and bass needs to be brought up. While EQ:ing is normal procedure in the studio or on gigs if you have good sound system, sound engineer and time, the Shure Beta 52a might be a problematic choice if you gig with sound system that don't have good equalisers, don't have time/possibility for sound checks or you need to do the mixing from the stage etc. Or if you are recording drums through a mixer and need relatively ready sound from the bass drum, then I would also recommend something else, like Audix D6 for instance. D6 has always sounded really ready and good with very little EQ:ing, it has more bass response to begin with etc. It is also bit smaller, so you don't need nearly as big port hole in the bd head, ESPECIALLY if you want to put the mic inside the head. Shure is quite bulky and awkwardly shaped, and it's actually difficult to get in a position where it's bit inside the port hole, closer to the batter.

Edit: I 've heard some say that they want their mics to be as natural and neutral (eq-wise) as possible. But bass drum mics are VERY coloured to begin with, that' how they are designed to be. So selecting, for instance, Shure 52 over D6, because Shure is flatter, is bit like going to Burger King instead of McDonalds because of health reasons. :D
Click to expand...
I agree! The D6 is a "pull up the fader" mic...no mess, no hassle. The Sennheiser e602 is very good as well.
 
Based on durability factor and excellent overall sound quality I have to go with the beta52. This thing can take a beating.literally!
 
I love the sound of my D6 but have had durability issues. Mine has never left my home studio and I have had to send it back to get repair twice. It is not very durable but sounds amazing, you barely have to EQ it. My dad has been using a D112 for about 25 years and has never had an issue; still running strong today. I prefer the D6 mostly because of size; I play a small 18" bass drum and a huge bass mic just looks weird in front of it.
 
clowndog said:
Also, Audix D4 makes a fantastic kick mic. It was their kick mic prior to the D6. I prefer it over the D6 in most cases for its flatter, less colored response.
Click to expand...

What s/he said.
 
My go-to bass drum mic is the Beyerdynamic M88TG. My band did a gig many years ago at a big festival; the sound company was out of Nashville and did major regional acts, and the drum sound guy only used those for bass drum.

For bar gigs, I've used the Sennheiser e902 for years, and had excellent results.

I think the D112 is crap, personally.
 
Markkuliini said:
Do you have chance to do EQ:ing afterwards? I think that is the most relevant question when choosing the mic.
While Shure Beta 52a is probably most popular bd mic, it's actually requires quite a bit of EQ:ing to get good bd sound with it. On blind tests I have always ranked it last, before any processing has done to the sound. While it's often desirable to have more neutral and flat response on, let's say, vocal mics to start with, I have found that the relatively flat response of Beta 52, never sounds good on the bass drum as is. Without the EQ the sound is always mid-heavy, almost thin to my ears, and mids need to be scooped out and bass needs to be brought up. While EQ:ing is normal procedure in the studio or on gigs if you have good sound system, sound engineer and time, the Shure Beta 52a might be a problematic choice if you gig with sound system that don't have good equalisers, don't have time/possibility for sound checks or you need to do the mixing from the stage etc. Or if you are recording drums through a mixer and need relatively ready sound from the bass drum, then I would also recommend something else, like Audix D6 for instance. D6 has always sounded really ready and good with very little EQ:ing, it has more bass response to begin with etc. It is also bit smaller, so you don't need nearly as big port hole in the bd head, ESPECIALLY if you want to put the mic inside the head. Shure is quite bulky and awkwardly shaped, and it's actually difficult to get in a position where it's bit inside the port hole, closer to the batter.
Edit: I 've heard some say that they want their mics to be as natural and neutral (eq-wise) as possible. But bass drum mics are VERY coloured to begin with, that' how they are designed to be. So selecting, for instance, Shure 52 over D6, because Shure is flatter, is bit like going to Burger King instead of McDonalds because of health reasons. :D
Click to expand...
Yes

Phil
 
scaramanga said:
Also, Audix D4 makes a fantastic kick mic. It was their kick mic prior to the D6. I prefer it over the D6 in most cases for its flatter, less colored response.
Click to expand...

What s/he said.
Click to expand...
He :) thanks.

Also, D4 works with the very smallest of port holes which is another bonus in my book.
 
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