Budget kick drum mic
- Thread starter Brian_SG
- Start date
mrface2112
Well-known member
ummmmmmmm.......a used beta 52? that's like $120. what's $20 more? spend the extra cash and just be done with it.
cheers,
wade
cheers,
wade
Rimshot
New member
I personally don't like 52's
I prefer a more universal kick mic that isn't as colored. $125 will get you an ATM 25. For about $45 less you can get the AT Pro 25 which isn't half bad. The Audix D6 is the mic that the 52 would love to be and the AKG D112 is a wonderful mic with absolutely NO color to it but it depends on absolute placement for the sound you want. It's also the "go to" mic for a bass cab, so the $199 will give you a mic with many possibilities.
I have successfully used the ATM 25 as a stage mic for a husky voiced singer and it was good. The Audix D6 is ONLY good as a kick mic.
The Cad 412 is very very uneven. I had one that was absolutely wonderful and it was destroyed in an accident at a session where a few things were damaged to to a collapse and cabs going over. I replaced it with another one and it is lousy. Sounds like it's underwater. Buyer beware.
The AT Pro 25 is the only budget kick mic that's worth having. I still use mine as a throat mic on a djembe or darbuka or as a large tom mic for stage.
I prefer a more universal kick mic that isn't as colored. $125 will get you an ATM 25. For about $45 less you can get the AT Pro 25 which isn't half bad. The Audix D6 is the mic that the 52 would love to be and the AKG D112 is a wonderful mic with absolutely NO color to it but it depends on absolute placement for the sound you want. It's also the "go to" mic for a bass cab, so the $199 will give you a mic with many possibilities.
I have successfully used the ATM 25 as a stage mic for a husky voiced singer and it was good. The Audix D6 is ONLY good as a kick mic.
The Cad 412 is very very uneven. I had one that was absolutely wonderful and it was destroyed in an accident at a session where a few things were damaged to to a collapse and cabs going over. I replaced it with another one and it is lousy. Sounds like it's underwater. Buyer beware.
The AT Pro 25 is the only budget kick mic that's worth having. I still use mine as a throat mic on a djembe or darbuka or as a large tom mic for stage.
bubbagump
New member
I think it rocks on bass cab too.
Rimshot
New member
nuemes
Be Here Now
Eh, have you read the frequency specs on the D112 or listened to it compared to the other mics?
http://www.fullcompass.com/common/files/2361-akg_d112_specs.pdf
I play drums and own all three mics. I find the D112 has the most 'EQ'd' sound of the D112, Beta 52 & ATM25.
The ATM25 is the most natural sounding of the three and takes EQ the best of those three for that reason.
http://www.audio-technica.com/cms/wired_mics/4751d979dbb1341d/index.html
If you have less than $100 I'd use a Shure SM57 because it will have many uses beyond kick. If you can spend up to $120 you can't go wrong with a Shure Beta 52 or ATM25. If you're doing rock go with the Beta 52, if more than just rock go with the ATM25.
Rimshot
New member
I guess it depends on what you're recording...
I own an older AKG D 112, and I own the ATM 25 as well as the AT Pro 25 and a few other kick mics. I really don't like the Shure kick mics at all, but I am not a rock drummer. My absolutely favorite kick mic is the ATM 25 because it gives me the cleanest flattest sound. I almost always have had the D 112 on my kick in a studio session, and it takes a while to position it correctly but when it is it gives a pretty wonderful clean flat signal (my ears tell me that). The older AKG D 12 is a great kick mic also (in one of the studios I did a session in they used one of those). I usually use my D112 on a bass cab or on a double bass rather than on my kick. I tried the Audix once and gained a lot of respect for it as just about the ultimate kick mic for rock. It sends a strong signal but it does sound colored and it is wrong for the jazz and acoustic music that I do. Every Shure 52 I've had has signal problems. It seems more colored than the Audix is. Maybe I've just had bad ones and had bad luck, but I've heard the same complaint from other drummers, and it's not the cable because the same cables were used on other mics afterward with no problem. Yet I also know a lot of really great drummers that absolutely love the 52, so go figure.
The Shure 57 and 58 are really great mics and are vocal and snare, tom and hat mics as well as a bunch of other applications. They tolerate high sound pressure levels so you can use them on kick, but I've always found them to make the kick sound shallow. They don't really embrace the lower end the way a good kick drum mic does, but if it's all you have.........
New Shure 57's are going from anywhere from $80 - $120 depending on where you buy them, so at that price, buy the ATM 25. Don't ever buy a PG 52 unless you want to play catch with it (they're still around in a lot of stores)
I own an older AKG D 112, and I own the ATM 25 as well as the AT Pro 25 and a few other kick mics. I really don't like the Shure kick mics at all, but I am not a rock drummer. My absolutely favorite kick mic is the ATM 25 because it gives me the cleanest flattest sound. I almost always have had the D 112 on my kick in a studio session, and it takes a while to position it correctly but when it is it gives a pretty wonderful clean flat signal (my ears tell me that). The older AKG D 12 is a great kick mic also (in one of the studios I did a session in they used one of those). I usually use my D112 on a bass cab or on a double bass rather than on my kick. I tried the Audix once and gained a lot of respect for it as just about the ultimate kick mic for rock. It sends a strong signal but it does sound colored and it is wrong for the jazz and acoustic music that I do. Every Shure 52 I've had has signal problems. It seems more colored than the Audix is. Maybe I've just had bad ones and had bad luck, but I've heard the same complaint from other drummers, and it's not the cable because the same cables were used on other mics afterward with no problem. Yet I also know a lot of really great drummers that absolutely love the 52, so go figure.
The Shure 57 and 58 are really great mics and are vocal and snare, tom and hat mics as well as a bunch of other applications. They tolerate high sound pressure levels so you can use them on kick, but I've always found them to make the kick sound shallow. They don't really embrace the lower end the way a good kick drum mic does, but if it's all you have.........
New Shure 57's are going from anywhere from $80 - $120 depending on where you buy them, so at that price, buy the ATM 25. Don't ever buy a PG 52 unless you want to play catch with it (they're still around in a lot of stores)
psychedelicsoun
New member
apex 205 - $90
take out the extra grills and stuff
also works awesome for bass cab, piano, and room mic
take out the extra grills and stuff
also works awesome for bass cab, piano, and room mic
Rimshot
New member
Isn't that a Ribbon Mic? Aren't they really fragile?
TyphoidHippo
1Trillion K Platinum User
You could probably get a used PG52 for like.....nothing.
I have a PG52, and it works just fine for live sound - however - it's not really ideal for recording, unless you are going to sound-replace your kick - in which case, you don't need a kick-specific mic to begin with. Personally, I record with an e902, and love it. Try to find one of those used...they're pretty nice.
I have a PG52, and it works just fine for live sound - however - it's not really ideal for recording, unless you are going to sound-replace your kick - in which case, you don't need a kick-specific mic to begin with. Personally, I record with an e902, and love it. Try to find one of those used...they're pretty nice.
psychedelicsoun
New member
don't spray an air horn into one...
keep it out of the air blast from the port of the kick and you should be fine
keep it out of the air blast from the port of the kick and you should be fine
Yeah but like most ribbons you need a decent preamp to get it up to usable levels. You want a clean and uncolored kick mic, get an EV RE20. But, more on topic, that's probably out of your budget even found used.
I'd take a D112 over all the others. That's about $100 to $150 used depending on where you're getting it, and how lucky you are. After trying the other brands for live sound and recording, it just has the sound I want to hear, for much the same reason that rimshot mentioned.
Of course, many other things come into consideration, like tuning/muffling of said kick drum, signal path, etc.
I'd take a D112 over all the others. That's about $100 to $150 used depending on where you're getting it, and how lucky you are. After trying the other brands for live sound and recording, it just has the sound I want to hear, for much the same reason that rimshot mentioned.
Of course, many other things come into consideration, like tuning/muffling of said kick drum, signal path, etc.