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orksnork
New member
if i were you i'd post a little more info
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xstatic
New member
I would say that the Audix D6 has more "slam", but the 602 has more "bump".
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heroics321
New member
xstatic said:
It's starting to sound like a car stereo store in here
. I'm thinking of picking up the 602 in the near future. The guitarist in my band got a chance to use it along side the beta 52, D112, and RE20 at the Recording Workshop. He tended to favor the 602 on most kicks. He's also a 3rd shift worker and only sleeps about 2 hours a day, so I take his thoughts with a grain of salt.
cavedog101
Well-known member
xstatic said:
Exactly. I too have owned and operated all except the 602 but I did have a 409 ...The RE20 takes a lot of futzing around unless its a light pop or jazz sounding kit. However, once futzed it sounds great. I owned a D12 so when I heard the D112 I was underwhelmed. Like it on bass cabs and floor toms. D6 is automatic if a little one-trick. Still...its quick and easy and a touch of EQ goes a long way with em. No one has mentioned the ATM25. I use em on many many things. Most versatile of all of em.
You still have to have a quality sounding drum and the really BIG kik sounds wind up being a multiple mic setup anyway. Try an Audix D4 right in on the beater with one of the above mics in the hole and an FET based LDC outside.
Now we're talking kik drum.
rory
New member
I've used all of those, and they'll all work (which is why so many people have them!!!). Personally, I use a shure 91 inside the kick on an EQ pad of some sort, followed by a D6 somewhere around the hole or front head, sometimes right next to the 91, followed by a large condensor about 3-6' outside of the kick drum. Different techniques will yield different sounds too, depending on how much click you want, how much body, etc...
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sbcgroup2
New member
re:
Whoa! A triple bass drum mic setup... that sounds psycho. Can you get that Lars Ulrich black album kick type of sound out of it? What happens if the drummer starts doing the double bass thing? Does it get too boomy/overwhelming?
I picked up an Alesis DM5 just so I could trigger the bass drum and was planning on using an Audix in addition. Should I be trying to shy away from triggering as well? I haven't tested everything out yet... On most of the recordings with bass drum sounds I like (like Pantera Vulgar Display of Power and Metallica Justice) it sounds like the guys are using a combo of triggering and mic'ing (especially on Justice).
My biggest problems are getting pronounciation and clarity when using double bass. Last album we made I just used my trusty 'ol dbx 166xl's on the kit to try and get what I wanted then compressed the shit out of the track in Logic and added low end EQ. It got everything pronounced and added some more body but.....well, you get the picture. Thin and amateur, baby! Sweeeet.
Thanks!
rory said:
Whoa! A triple bass drum mic setup... that sounds psycho. Can you get that Lars Ulrich black album kick type of sound out of it? What happens if the drummer starts doing the double bass thing? Does it get too boomy/overwhelming?
I picked up an Alesis DM5 just so I could trigger the bass drum and was planning on using an Audix in addition. Should I be trying to shy away from triggering as well? I haven't tested everything out yet... On most of the recordings with bass drum sounds I like (like Pantera Vulgar Display of Power and Metallica Justice) it sounds like the guys are using a combo of triggering and mic'ing (especially on Justice).
My biggest problems are getting pronounciation and clarity when using double bass. Last album we made I just used my trusty 'ol dbx 166xl's on the kit to try and get what I wanted then compressed the shit out of the track in Logic and added low end EQ. It got everything pronounced and added some more body but.....well, you get the picture. Thin and amateur, baby! Sweeeet.
Thanks!
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xstatic
New member
Using three mics is not so rare. It is very important how you set them up though as to how you can use them during mixdown. Often times people build a tunnel when micing the kick from more than 6 to 12 inches away. If not, your kick drum sound will greatly affect how all the other drums and cymbals in your mix sound. Even with a tunnel it can and often will do the same. Each different technique still has its advantages and disadvantages. In the end however there is only 1 important thing that has to be ther to get a great sounding kick....... a great sounding kick....
Then again, starting with API preamps does not hurt either
Then again, starting with API preamps does not hurt either
rory
New member
Right, three mics isn't really that strange. Especially when you consider how different the mics sound. The 91 and the D6 can get that click that I think you're looking for when using the double bass. I'd really check out a 91, I think it would be right up your alley.
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sbcgroup2
New member
re:
So you think I should/could do away with the trigger? It would be really cool if I combined a few mics (91 I guess included) and got that great bass drum sound. Like I said, I have a crappola Shure PG bass drum mic and it REALLY sux. I guess the 91 would be that much better?
By the way, where's Mt. Jerkweed anyways? ...lol...nice.
rory said:
So you think I should/could do away with the trigger? It would be really cool if I combined a few mics (91 I guess included) and got that great bass drum sound. Like I said, I have a crappola Shure PG bass drum mic and it REALLY sux. I guess the 91 would be that much better?
By the way, where's Mt. Jerkweed anyways? ...lol...nice.
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xstatic
New member
I would not say to do away with the trigger. It can still have it's uses. If nothing else it can help you to more accurately gate your kick, and will still be useful as a blending tool. I also would not run out and buy a beta 91. Before you do that, you might want to consider replacing your PG52 with a better quality standard kick mic (D6, D112, beta 52, beyer m88, ATM25, senn 602 etc...). With a well tuned kick you can still get a great kick sound from just 1 mic and some careful post processing. After you get that down, then maybe add a beta 91 or a sennheiser 901.
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sbcgroup2
New member
Re:
Ok, so now what mics on the kit get the good pres? What is their order of importance?
Thanks!
Ok, so now what mics on the kit get the good pres? What is their order of importance?
Thanks!
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xstatic
New member
Kit first, mics second, pre's third
TragikRemix
I am NOT a Gear Whore. ;)
Farview said:
in a semi-blind test (i'm just dumb and couldnt remember which order you listed them but good thing!!0
i liked #1 best, #2 was good too. #3 sounded crappy IMO.
i have the d112, i'm happy enough with it. i really liked the 421 in your test though... more of a reason to get one sometime soon!
andycerrone
Banned
Farview said:
Third was best IMO, followed by 2, and I didn't really like 1.
Farview
Well-known member
That just proves that 'better' depends entirely on context.
Most of the time I use the beta 52. I go through periods when I favor the D112. If I use the 421, it is always in combination with other mics.
Most of the time I use the beta 52. I go through periods when I favor the D112. If I use the 421, it is always in combination with other mics.
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Rocket Boy
New member
Positioning probably had more to do with those test results then anything.
rory
New member
Farview said:
Definitely. I think what makes people good at this are the ones that know what certain mics sound like when they're used in certain situations, and can get the "right" sound for the application. Sometimes I won't even mic the kick drum depending on the situation. Probably not for metal, but for other genres sure.