{"id":25688,"date":"2018-03-28T05:54:08","date_gmt":"2018-03-28T05:54:08","guid":{"rendered":"https:\/\/soundhouserecording.net\/home\/?p=25688"},"modified":"2018-03-28T22:08:28","modified_gmt":"2018-03-28T22:08:28","slug":"kick-mic-shootout","status":"publish","type":"post","link":"https:\/\/soundhouserecording.net\/home\/blog\/kick-mic-shootout\/","title":{"rendered":"Kick Mic Shootout"},"content":{"rendered":"
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A soundhouse shootout – kick drum microphones<\/h1>\n

Author: Chris Merten<\/p>\n

\/ Video: Mikel Perkins<\/p>\n

Engineering: Wyatt Harbaugh, Mikel Perkins, Chris Merten, Mike Sebring<\/p>\n

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the Showdown:<\/h2>\n

Having been involved in Soundhouse for almost two years has provided me with the opportunity to use a vast array of different microphones and pieces of equipment, but with so many to choose from, sometimes useful mics can become lost in the shuffle. To remedy this, the crew and I set out to capture and compare the sounds of our collection of kick drum microphones. Other than satisfying our own curiosity, we also conducted this experiment to provide an audible showcase of what we have available to clients coming through our doors. As both an engineer and a drummer, I found this particularly useful, and I’m eager to do some experimenting with many of these microphones in future recording sessions. If you’re pressed for time, we’ve also provided a handy video at the bottom of the page for your viewing and listening pleasure!<\/p>\n

*If you’d like to skip to the 2 minute video, please scroll down to the “In Conclusion” section!<\/p>\n

The drum:<\/h2>\n

We used Jack Endino’s kick drum for this experiment (available for use upon request). It is a vintage Ludwig 14 x 22 with a solid punch and aggressive attack.<\/p>\n

The Contenders:<\/h2>\n

Telefunken M82:<\/span><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\"Telefunken
A Telefunken M82 in the field.<\/figcaption><\/figure>\n
\"M82
Telefunken M82 Polar Pattern<\/figcaption><\/figure>\n
\"M82
Telefunken M82 Freq Response<\/figcaption><\/figure>\n
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The Telefunken M82 is quickly becoming a Soundhouse favorite. It features a variable EQ scoop that helps attenuate the boxiness of the kick, and an EQ boost that accentuates the attack of the drum. I am a huge fan of the sound of this microphone, and am looking forward to using it in future sessions.<\/p>\n

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Technical Specifications:<\/h4>\n

http:\/\/www.fullcompass.com\/common\/files\/28096-TELEFUNKENElektroakustikM82Datasheet.pdf<\/a><\/p>\n

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Beyerdynamic M88:<\/span><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\"Beyerdynamic
A lonesome Beyerdynamic M88<\/figcaption><\/figure>\n
\"M88
Beyerdynamic M88 Polar Pattern<\/figcaption><\/figure>\n
\"M88
Beyerdynamic Frequency Response<\/figcaption><\/figure>\n
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The M88 is a bit of an anomaly, as it is typically utilized when recording snare or electric guitar. What is notable about it is that the frequency response of the mic varies due to the Proximity Effect. Before this experiment, I never would have suggested using this on a kick, but upon further review, I think that it produces interesting results. The M88 probably would not be my first choice to mic a kick, but in a scenario where I’m experimenting with different sounds, I’d definitely give this a shot.<\/p>\n

Technical Specifications:<\/h4>\n

https:\/\/north-america.beyerdynamic.com\/amfile\/file\/download\/file_id\/52\/product_id\/422\/<\/a><\/p>\n

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Audix D6:<\/span><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\"Audix
An alluring Audix D6<\/figcaption><\/figure>\n
\"D6
Audix D6 Frequency Response and Polar Pattern<\/figcaption><\/figure>\n
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The D6 is a popular microphone for those looking for a modern kick sound. It features a mid-range EQ scoop, and high frequency boost that really accentuates the attack of the drum: a timbre popular in hard rock and heavy metal applications. I personally have a lot of experience micing kicks with the D6, and love it for its solid punch.<\/p>\n

Technical Specifications:<\/h4>\n

http:\/\/audixusa.com\/docs_12\/specs_pdf\/D6_V2_0615.pdf<\/a><\/p>\n

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AKG D112:<\/span><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\"AKG
The first mic Jack Endino reaches for when recording a kick<\/figcaption><\/figure>\n
\"Akg
Akg D112 Polar Pattern and Frequency Response<\/figcaption><\/figure>\n
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The D112 is a Soundhouse staple, and is often the go-to microphone used when recording a kick drum. It is a personal favorite of Jack Endino<\/a>, and can be heard throughout his body of work. The low end is punchy and the attack is powerful. You’ll feel it in your chest.<\/p>\n

 <\/h4>\nhttps:\/\/soundhouserecording.net\/home\/wp-content\/uploads\/2018\/03\/D112_32.96.wav<\/a><\/audio>\nhttps:\/\/soundhouserecording.net\/home\/wp-content\/uploads\/2018\/03\/D112.2.wav<\/a><\/audio>\n

Technical Specifications:<\/h4>\n

http:\/\/cloud.akg.com\/10968\/d112_mkii_qug.pdf<\/a><\/p>\n

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Sennheiser 421:<\/span><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\"Sennheiser
The iconic Sennheiser 421<\/figcaption><\/figure>\n
\"Sennheiser
Sennheiser 421 Polar Pattern and Frequency Response<\/figcaption><\/figure>\n
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A classic microphone that needs no introduction, the famous 421 has played a key role in recording for decades. It has a vast number of uses, and is commonly utilized when recording toms, electric guitar, acoustic stringed instruments, and even brass and woodwinds. When used on a kick, it sounds best when going for a more organic timbre. I use a 421 in almost every session, and I’m toying with the idea of throwing it on a kick drum in the future.<\/p>\n

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