AKG D112 vs Shure Beta 52
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Blue Bear Sound
New member
There's no single answer.... it all depends on the particular color you're going for at the moment. Soemtimes a D112 gives you the sound you want, other times it's the 52, and even other times it's an RE20 or an SM7........
The Audia Technica ATM25 gives a different type of phat kick sound. I own several and use them for kick and all toms. I wanted an Audix D6, but can't find one cheap on eBay yet.
The D112 is reputed to sound like a basketball... no experience, just hear-say. I'd like to own an RE20 also.
The D112 is reputed to sound like a basketball... no experience, just hear-say. I'd like to own an RE20 also.
harley96
New member
Personally, I prefer the beta 52 over the D112.IMHO the 52 gives you more to work with and just that straight up rock n roll thump.
For heavy metal/hardcore than the D112 is better suited for that type of music.YMMV...P.S depending upon where you bought it if you don't like the D112 than you can probably go back and exchange for the beta 52.Considering most people are not going to use either one as a vocal mic and I normally get it in writing before I leave the store.
For heavy metal/hardcore than the D112 is better suited for that type of music.YMMV...P.S depending upon where you bought it if you don't like the D112 than you can probably go back and exchange for the beta 52.Considering most people are not going to use either one as a vocal mic and I normally get it in writing before I leave the store.
harley96 said:
Great point!
I did the same thing. bought the beta52 had it at the house for a few weeks comparing it to a buddies D112, took back the 52 and switched it out for the D-6 (written came in handy)
BTW I'm doing Rock/Pop/Blues style, with a DW- Birch 22"x 18" kick. my thoughts on all three mics FWIW:
D112: has a clicky attack, a little bit finicky as for finding its sweet spot, did cut through the mix well, needed some EQ to bring out the low end. made my kick sound very close to the room sound...this mics tone hits you in the gut!
Beta52: very boomy had more than enough lows but had a bothersome mid range honk (which could be repaired with EQ later, also needed some work to stand out in mix) the toughest of the three to find sweet spot, placement was a bit challenging, was the most versitile of the 3 though (worked great on bass cabs and even guitar amps) however I was in desperate need of a go-to-kick mic...this mics tone hits you in the chest!
Audix D-6: had enough click to stand out in mix, very scooped across the mids making it basically fuss free as far as finding sweet spot and placement. sounded great right out of the box wherever I put it...a down side to me is that it sounds the same every where you put it due to its heavy scooped mids. on one hand it makes placement easy. on the other hand, if you want slightly different sounds by mic'ing front of head, or deep inside, or beater head, or at the sound whole, theres not much tonal change...this mics tone hits you in the balls!
truth be told, I now believe I could get any of the 3 to sound good by just EQ'ing later, its just the D-6 was by far the quickest, trouble free choice.
as always, IMO!...good luck
Richard Monroe
Well-known member
Actually, the D112 can be a very good vocal mic for some voices. It might surprise you. Note that many kick drum favorites (EV20 and SM7 have been mentioned) work damn well on some vocals. A kick drum wants a smooth good quality dynamic that can handle high SPL's. That's one operating definition of a vocal mic.
To give my answer to the question, I prefer the D112, because it's a better all around dynamic than a 52. Good for double bass, alto sax, cello, djembe, and yes, even vocals.
And Blue Bear.. you really use an SM7 for kick? Someone had suggested that the high SPL's associated with kick would degrade the SM7's performance as a vocal mic over time. Is that bullshit? I've never tried it on kick, but it rocks on djembe. It might be interesting as an alternative to the D112, which is what I generally use. Could you give me a little insight into SM7 as a kick mic?-Richie
To give my answer to the question, I prefer the D112, because it's a better all around dynamic than a 52. Good for double bass, alto sax, cello, djembe, and yes, even vocals.
And Blue Bear.. you really use an SM7 for kick? Someone had suggested that the high SPL's associated with kick would degrade the SM7's performance as a vocal mic over time. Is that bullshit? I've never tried it on kick, but it rocks on djembe. It might be interesting as an alternative to the D112, which is what I generally use. Could you give me a little insight into SM7 as a kick mic?-Richie
Re: re
You'll be just fine with the D112 There's a reason its been an industry standard for so many years. I just sat in on a drum tracking session Nuemans, Soundelux's everywhere and a good old D112 in the kick with a 57 on the sanre.
you'll make great tracks with that mic.
substance said:
You'll be just fine with the D112 There's a reason its been an industry standard for so many years. I just sat in on a drum tracking session Nuemans, Soundelux's everywhere and a good old D112 in the kick with a 57 on the sanre.
you'll make great tracks with that mic.
Bobalou said:
Bobalou,
I agree very much with this description of these mics. I've used them all and own the D6. Your explanation of the issues with the D6 (same sounding, more difficult to change the sound) are spot on. Though, the D6 is a great sound...it's just that changing the sound is a bit more difficult. I also own an ATM 25 which is a bit different than all of these.
Blue Bear Sound
New member
I mentioned the SM7 as an example of using a mic that typically wouldn't be thought of for kick - ie, "whatever gives someone the sound they want"....Richard Monroe said:
I couldn't find an SPL rating for the SM7, but as long as the source is under level, then there should be no problem over time. It's when the SPL ratings are exceeded that you can damage the capsule's diaphragm.
Blue Bear Sound
New member
DJL - you missed my comment:
I haven't used an SM7 myself on kick - but Rev E's summation of my point was exactly what I was trying to say........!
Blue Bear Sound said:
I haven't used an SM7 myself on kick - but Rev E's summation of my point was exactly what I was trying to say........!
Rimshot
New member
substance,
Have no fear about the D112, it is an excellent choice and an excellent mic. You have to play around with it to find the placement that gives you exactly the sound you want. I recorded a session with Richard Monroe several months ago and he used his following all the suggestions from all of the on-line experts for placement and it sounded like a bouncing basketball (it seems that was the popular sound quality for most reording engineers) he wasn't happy and neither was I. Another sound engineer came in and surveyed the situation, placed it outside the resonator head at about an inch or two above the sound hole, just slightly pointing down and, VOILA, nice phat sound. I have since experimented with another one and found that the D112 is a chameleon. It can be any kick mic you want it to be, but it's real fickle about placement.It's also great in other applications, so, you did well.
The Beta 52 will only give you that hard rock thump. If that's what you want, it's the mic for it.
I personally own the ATM25 and I love what it gives me, but it's not wonderful for giving that hard rock thump. I seldom play hard rock anymore, so I'm very happy with it.
Have no fear about the D112, it is an excellent choice and an excellent mic. You have to play around with it to find the placement that gives you exactly the sound you want. I recorded a session with Richard Monroe several months ago and he used his following all the suggestions from all of the on-line experts for placement and it sounded like a bouncing basketball (it seems that was the popular sound quality for most reording engineers) he wasn't happy and neither was I. Another sound engineer came in and surveyed the situation, placed it outside the resonator head at about an inch or two above the sound hole, just slightly pointing down and, VOILA, nice phat sound. I have since experimented with another one and found that the D112 is a chameleon. It can be any kick mic you want it to be, but it's real fickle about placement.It's also great in other applications, so, you did well.
The Beta 52 will only give you that hard rock thump. If that's what you want, it's the mic for it.
I personally own the ATM25 and I love what it gives me, but it's not wonderful for giving that hard rock thump. I seldom play hard rock anymore, so I'm very happy with it.
Rimshot
New member
bgavin said:
Well, think the EV RE20 is in my future sometime, but it will have to be after doctor bils and medication, mortgage payments, alimony, a Roland 1824 and a couple of better pre-amps. (YIKES!) The cheapest that I have seen the RE20 has been a tad over $400. From what I've heard of it on Tain Watts' drums it is a killer mic, and it has so many other wonderful applications too for many other instruments.
Poor guy here. One step at a time
