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Battle of the popular dynamic kick drum mic choices

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Re: Battle of the popular dynamic kick drum mic choices

Postby garthplinko on Tue May 14, 2019 7:58 pm

Boombats wrote:Kelly SHU


This reminds me that I still have a Beta91 shu-mounted in my vista kick so I can play with an non-ported reso head and not have to have a long discussion w the sound guy about not having a sound hole. I have some live tracks w it and it's ok! TONS of attack.

Next album I am going to try and combine it with a DIY sub-kick I think, although the idea of using two mics on a kick still feels extravagant and indulgent to me - probably since I learned on 4- and 8-tracks. I'm sure I'll get over it if the results are good.
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Re: Battle of the popular dynamic kick drum mic choices

Postby Frank Decent on Wed May 15, 2019 12:59 pm

garthplinko wrote:
Frank Decent wrote:
projectMalamute wrote:I've spent some time with the D112, RE20, Beta52, and D6. I've pretty much settled on the D112 and RE20. D112 for just a touch 'bigger than life' and RE20 for more natural.

The Audix takes the all-boom-and-click concept to an insane level. Check out the frequency response on one of those things some time, from the bottom of the mid cut to the top of the presence peak is almost 20dB. A lot of live sound guys out here love them, and I get the attraction. If you want a super-hyped cannon of a kick drum sound it pretty much does it out of the box. I used one for a while when I was doing a lot of death metal shows. They are good for that.

The Beta52 is somewhere between the D112 and the D6, but seems to have the worst qualities of both to my ear. I really don't like those things.


Wow. I've just found a cheap deal on a Beta52 and for a second got excited. Then I heard it in some videos and you've put it exactly how I feel. I just don't like the scooped sound. I don't like the Audix at all. Hate it, in fact.

Can anyone recommend a large diaphragm dynamic with more of a flat response?


Here's one of the more comprehensive kick mic shootouts still to this day and I didn't see it posted here: http://recordinghacks.com/2012/06/08/ki ... -shootout/ Sure, not perfect, but it's something at least.

Based on your description, I think you might be best served by an RE20.


I've got one that I use for bass and vocals. It's my favourite mic. I should just get another one. Or 4.
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Re: Battle of the popular dynamic kick drum mic choices

Postby Boombats on Wed May 15, 2019 6:12 pm

The best placement for a Beta 52 is in front of a loud bass cab in a live mix.
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Re: Battle of the popular dynamic kick drum mic choices

Postby projectMalamute on Thu May 16, 2019 8:40 am

In the time since I last posted in this thread I've had the chance to use the Beta 91 a few times and I really like it. Now my first choice for a 'naturalistic' bass drum sound.

The cheap Audix (F6 I think?) is better than you might think. Not as hyped as the D6, at least as far as I recall. I have never actually had them side by side for a direct comparison.

I've been using one at work a lot and finding it easy to get the bass drum sounding good. Several drummers who use in ear monitors have gone out of their way to mention how good it sounds to them. Didn't see that coming when I got the drum mic pack in a deal with a bunch of other stuff. The tom mics don't suck either.

This is all from the point of view of a live sound engineer working with competently deployed systems.
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Re: Battle of the popular dynamic kick drum mic choices

Postby bishopdante on Wed Jun 12, 2019 2:35 am

The D112 is a difficult microphone to use well, in my experience. It's a lot better than an SM58 on a kick drum, but it's got equivalent issues to do with frequency response, distortion and directivity.

If you look inside the mic, you'll find a chunk of what appears to be grey PVC drainpipe in it, which is the enclosure of the reverse side of the diaphragm. This seems to be the problem with the microphone – the plastic pot can resonate, and the airspace inside it can resonate. I'm not sure if it's ABS, PVC, or something else, but even if it was mild steel I'd be some concerned about resonance. A better materials is probably... something like lead.

Also, being a cardioid microphone, when the mic is placed close to a source, such as a loud bass drum, proximity effect is induced, and very high pressures can likely be found inside the plastic pot.

The D112 sounds surprisingly good on very quiet sources, but on loud things it tends to introduce its own shitty sound, basically working as a very small plastic drum. I have one here which I may try to modify to mitigate this plasticky noise, and also record some of the sounds of having the chassis agitated with various mallets and sticks, and see if I can get the same shitty sound I've been used to by loading up those D112-tapping plastic drum sounds as impulse resources in a convolution reverb and running some clean sources through the samples.

Placed 6" outside the resonant head of a kick drum for a very quiet jazz band, the D112 works really well. Stuffed into the port of a very loud metal drummer onstage... it sounds like a plastic bucket being used as a punchbag.

The D112 won't die being exposed to 160dB of low frequency material all day long, though, and will continue to sound very much like a plastic bucket seven days a week for decades straight, without fail. This is why they're everywhere: like SM58s, they very rarely break for any reason.
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Re: Battle of the popular dynamic kick drum mic choices

Postby 154 on Wed Jun 12, 2019 8:38 am

bishopdante wrote:Placed 6" outside the resonant head of a kick drum for a very quiet jazz band, the D112 works really well. Stuffed into the port of a very loud metal drummer onstage... it sounds like a plastic bucket being used as a punchbag.


I don't disagree but I think that's more the technique than microphone. Plus, that's the desired sound for a lot of metal/fast punk (w/ the mids scooped out).
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Re: Battle of the popular dynamic kick drum mic choices

Postby TylerSavage on Wed Jun 12, 2019 11:34 am

it's not terribly hard to get a variety of non plastic kick sounds out of a D112
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Re: Battle of the popular dynamic kick drum mic choices

Postby bishopdante on Wed Jun 19, 2019 2:03 am

This is entirely true. ~I was more suggesting that getting "wow that's great" out of it is pretty tricky. Certainly it works as in renders and passes sound convincingly and reliiably when placed conservatively.



However, some people just see a hole (gap?) and have to stuff whatever they've got handy into it. Such as inserting a D112 into a kick drum port: viewtopic.php?f=6&t=36903&p=2034104&hilit=hole#p2034104

Particularly stuffing one with an asymmetrically located port right on the edge of the drum next to the rim: viewtopic.php?f=5&t=66799 [then doiing a 24dB low shelf boost on the desk EQ, master fader on +20dB, and turning the subs up as far as the knob turns on the power amp yea bwaaay rrrockking. Do you have an awkz cable so my mate can plug his phone in? And an iphone charger? Ours is broken.]

steve wrote:Hole, no hole, no head, no drum, don't care. I can deal. If you have a hole in your head, put it in the middle or near the middle. If you have a thing about not putting it in the middle then put it near the middle.



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NB: For why plastic cannister? viewtopic.php?f=5&t=41614
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