OK. Cool super-cheap kick drum mic alert.

C

CMEZ

New member
So, a month or two ago, I picked up a Superlux PRA 218A for $25 on a whim. I tried it out a little bit in rehearsals, sounded okay, hadn't had an opportunity to really record any with it until this week.

It rocks. If you want a pretty natural kick drum sound, not overly hyped, not boomy, not really 'clicky', then this mic is very good-and for $25, a steal. I did a little informal shoot-out with a D-112 (my only other option other than '57's and '58's) moving both mics all round, trying to capture each's best position.

Now, I'm recording a small soul combo (drums, bass, guitar, organ) and a roots rock combo (drums, bass, two guitars) Two very different kits-one's a custom DW type with a 20" X 24" deep kick, one's a Grestch 16" by 18" deep. These kicks are VERY different from each other. The Superlux whipped the D-112 for both; sounded very natural and punchy on both without any 'basketball bouncing' type of effect that is typical to the D-112.

Best position for BOTH drums was 2 1/2 inches in front of the soundhole, perpendicular to the floor. NO EQ neccessary. No real comp, just a little limiting, straight to tape.

Chris
 
CMEZ said:

The Superlux whipped the D-112 for both; sounded very natural and punchy on both without any 'basketball bouncing' type of effect that is typical to the D-112.
Chris
Click to expand...
Hmmmmmmmmmm.........I have a couple of D-112's and am VERY familier with all the ususall suspects for kick. I've NEVER heard the basketball sound you say is inherent to a D-112. I'd have to say your impressions are suspect at best.
 
well, Trackrat...

I have found, in 12 years of live and studio experience, that the D-112 has an overly BOOMY low end and an overly CLICKY response in the high mids. I've never really cared for it; yet it is fairly omnipresent. Too much click, too much boom (hence, a sort of basketball on pavement-y effect) leads me to NOT like that mic. Others do, that's fine. I don't call their observations SUSPECT just because they do.

I like a 421, Beta 52, RE20, hell, even a 57 better than I like a D112. In my HOME STUDIO (isn't what this website is about?) I don't have a 421, Beta 52, or RE20. One of the drummers I'm working with has a D112. I just DON'T like a D112. I hardly think that is grounds for your snide comments.

For $25, another option is a pretty good bargain, IMO. For a more 'vintage' type kick drum sound, I thought folks might want to try one. You'll have to excuse me; I just thought I'd share what I found to be a good deal. I apologize for having such thoughts.

I can't post clips at the moment because I'm working in analog and don't have any digitized tracks, but I've been a working/recording musician for 12 years. I've worked in mid to high end studios all over the midwest. I've worked with the best gear. I have a fairly educated ear. I found a decent kick mic for $25. Just thought I'd share.

Chris
 
Well thanks for the comments, CMEZ!!
I'm looking for a bass drum mic myself, and I thought I was going to have to settle for a PRO25, becasue I'm nearly broke!
But I think I can do the Superlux.

Thanks again.
 
Yeah, I was pretty surprised, really.

It's not going to be a 'be-all, end-all' kick drum mic, but it's nice for an old school-type flavor. Think Honky Tonk Women. Which is perfect for what I'm doing.

Chris
 
I've had a PRA 218 (came with a mic kit) for about a year. It's really not a bad mic, especially for the price. Placement is a little tricky. Got a kick mic'd up with it right now. About 2 inches or so outside the hole and slightly off axis. I don't have a D112 but I can't imagine the PRA 218 beating it. I used a borrowed D112 about a month ago live and was very impressed. Different kick drum though.

DD
 
ok...this is one of those situations I have been trying to avoid...but this illustrates the BS that happens here much of the time.

Track Rat has posted some of his material in the past, it sounds good, and he knows what he is talking about. He does not boast his credentials and all the BS. Plus, I don't think his remark was particularly snide either.

on the other hand

CMEZ is quick to avoid posting examples and retorts with a very vague comment of; I've worked in mid to high end studios all over the midwest. I've worked with the best gear. I have a fairly educated ear.

What friggin gear? What studios? Where was this ear educated?

btw...thanks for the post on the inexpensive mic. This IS homerecording.com, and that kind of stuff is appreciated. Just ease up on the BS and the defensiveness.

and track...go back to work...my cable has snow in it!!:mad:

btw...12 years will probably sound kinda funny as a lengthy time to a lot of people around here... I know that Track has grey hair now...and it's not from slant cabinets either.
 
I've only been hacking for about 25 years or so (and the grey is from getting "caught" with the groupies:D )
 
Ok, I'll try again.

I'm analog only at the moment; this little 'home studio' I'm working with is an analog 8 track demo-studio type. Allen & Heath System 8 board into a Teac 80-8 1/2" 8 track. Not optimal, by any means, but serviceable for demos, which is what it's for. I'll be mixing to borrowed DAT (again, not optimal, but serviceable for demos). This is why there are no files to post.

I do not claim to be an expert, but I do have a lot of experience in studios that are much more advanced than my tiny little home studio. In KC: Westend, Chapman, and Wheeler-and The Studio in Springfield, MO w/Lou Whitney for several projects, including a national release on a small indy label w/Kristie Stremel. These are not engineering credits; they are performer credits. For kick mics in most of these situations, we used 421's or RE20's. On a few, these decisions were made AFTER trying D112's. Lou usually augments the close 421 with a U47 out front as well, which is of course, far out of my financial reach.

I've done loads of live sound, and the usual mics available are D112's. I use them because that's what's there, but I don't really like them. I find I have to EQ a lot.

I'm not an expert; I didn't claim to be. I DO know what a decent kick drum sounds like, though, and I don't think you have to be an expert to know that. What irked me is Trak Rat's insinuation that my observations are dubious at best. I think that's uncalled for. So he likes the D112. That's cool, whatever. I don't think HIS observations are suspect just because I disagree.

AND, I'm not saying that this $25 mic is the best kick drum mic available; I'm saying only that for ME, for the sound I'm looking for, I preferred it over the D112, which I don't care much for regardless. I would probably prefer an RE20 or a 421, but that's a lot more than $25. Sometimes cheaper mics work better.
 
If indeed you did not mean to be snide, I apologize. I've re-read your post, though, and it still reads as condescending. At any rate, I think it's a good deal for $25 (or about 1/8 the cost of a D112). Folks might want to check one out.

Chris
 
It may have read snotty, not my intention to poke you in the eye with a stick. It's just not true the D-112's make a kick sound like a deflated basketball. Oh, they do have a signature, that's just not it. If it sounds like a basketball, it's because the kick sounds like a basketball. If that's what I'm hearing, I don't reach for another mic or preamp, I'm looking for the drum key. :D
 
Aah. Perhaps the rub is in the basketball description. Regardless, I think they've got too much click and boom. Some folks like that, to each their own.

It's very true that drum tuning is key; a crappy sounding drum is not going to sound good with any mic, of course. While that is often an issue with running live sound, it's not for me in a recording setting-I always work with pretty experienced, knowledgeable drummers.
 
Anyway,

two very different kick drums, two very different drummers, and the little superlux sounds great. In the next few weeks, I'll have something to post with it. For $25, you can't go wrong, and they're all over ebay.

Chris
 
I should add that I don't rely on the tight mic inside the kick for the entire kick sound. I always have an LDC out in front of the kit about 3' or so and use the tight mic to "fill it in".
 
Isn't that an oxymoron?

Often it is.

I've got lots of drummer jokes.

The two guys I've worked with most of the past few years are actually pretty educated, with college degrees in their instruments. It's nice when people actually know what they're doing.

Chris
 
yeah, I would if I could, but we're all in one room with baffles as much as possible. That LDC out front would just pick up too much.
 
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