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xstatic
New member
my heavily opinionated post
For the most part, I just don't care which mic anymore because I can always find a kick drum tone that I really like. The mics I just will not use on kick.... Audix D4, sennheiser 421, and EV PL20. The mics I use constantly, AKG D112, shure beta 52 and beta 91, Sennheiser 602, and Audix D6. Of the dynamics, they all sound pretty decent. In my opinion, there is not a huge difference between them. I mostly use the AKG D112 because for me I just am soooo familiar with it, its really easy for me to dial up what I like, so I will use it as a comparison reference. Of course these are all just my opinions. The beta 52 seems to have a smoother low end, but not quite as much aggresiveness as I like on both the lows and the highs (5k and above). The 602 I actually like a lot, but in live situations especially it seems to be very prone to feedback and really enhanced proximity effects. I love the lows and it seems to have a really cool upper harmonic thing going on. The D6 seems really natural sounding to me, but with a really rich smooth low bump. In the end, I use them all here and there, but about 75% of the time I just use the AKG. If you run them all flat with no EQ, I think all of the other mics sound better. However, once I apply a little EQ to the AKG, I am usually happier with the end result a little more than the others. I almost always use my dynamics in conjunction with the beta 91 becuase I liek the attack i get out of it. Especially in conjunction with some of the other mics listed above.
I have tried the tunnel, and using LD condensors too, but I usually end up with so much LF material that it becomes hard for me to manage later. I am going to try the Royer 121 soon though, i think it might be more what I am looking for. I do think that a large part of the problem that I have with the LD condensors on kick is that it just doesn't fit the style of music and the style of mixing that I have for most projects. I do a lot of aggressive rock and heavier rock and in those genres, I really believe that the incredible kick sounds come more from cool high frequency techniques as opposed to a bunch of lows. Especially when dealing with 5 and 6 string basses, 7 string guitars, and drop tunings. I have worked with quite a few bands that drop their tuning quite a bit lower than D. When you have guitar tracks that firmly dive down to 100 hz and even a little lower, Low frequency management is absolutely critical in order to maintain punch and drive in a final mix.
For the most part, I just don't care which mic anymore because I can always find a kick drum tone that I really like. The mics I just will not use on kick.... Audix D4, sennheiser 421, and EV PL20. The mics I use constantly, AKG D112, shure beta 52 and beta 91, Sennheiser 602, and Audix D6. Of the dynamics, they all sound pretty decent. In my opinion, there is not a huge difference between them. I mostly use the AKG D112 because for me I just am soooo familiar with it, its really easy for me to dial up what I like, so I will use it as a comparison reference. Of course these are all just my opinions. The beta 52 seems to have a smoother low end, but not quite as much aggresiveness as I like on both the lows and the highs (5k and above). The 602 I actually like a lot, but in live situations especially it seems to be very prone to feedback and really enhanced proximity effects. I love the lows and it seems to have a really cool upper harmonic thing going on. The D6 seems really natural sounding to me, but with a really rich smooth low bump. In the end, I use them all here and there, but about 75% of the time I just use the AKG. If you run them all flat with no EQ, I think all of the other mics sound better. However, once I apply a little EQ to the AKG, I am usually happier with the end result a little more than the others. I almost always use my dynamics in conjunction with the beta 91 becuase I liek the attack i get out of it. Especially in conjunction with some of the other mics listed above.
I have tried the tunnel, and using LD condensors too, but I usually end up with so much LF material that it becomes hard for me to manage later. I am going to try the Royer 121 soon though, i think it might be more what I am looking for. I do think that a large part of the problem that I have with the LD condensors on kick is that it just doesn't fit the style of music and the style of mixing that I have for most projects. I do a lot of aggressive rock and heavier rock and in those genres, I really believe that the incredible kick sounds come more from cool high frequency techniques as opposed to a bunch of lows. Especially when dealing with 5 and 6 string basses, 7 string guitars, and drop tunings. I have worked with quite a few bands that drop their tuning quite a bit lower than D. When you have guitar tracks that firmly dive down to 100 hz and even a little lower, Low frequency management is absolutely critical in order to maintain punch and drive in a final mix.
