Ondrej Gratz wrote on Wed, 05 January 2005 06:15 |
Thanks for your replies. The egg (112) is VERY uncomfortable for me when I want to place the mic inside the kick (should I ? I've seen people who don't. Where's the "sweet spot" when using D-112 ? Inside/Outside ?). The Audix seems to suffer the same problem as above for me. Doesn't it ? (I've seen it only on a picture.) AT2500 gives a lot of extra work (thus extra time) placing it to the right position and with the extra input channel in the beast. RE20 is heavy and expensive. It's hard to choose one, isn't it. A trade-off mic is waiting to be invented... Go for it manufacturers, I'm looking forward to it. |
Geri O wrote on Wed, 05 January 2005 04:31 |
No magic answer here, mate. Kick drums vary wildy between drummers and there's no single perfect mic for every case. Our mic inventory has RE-20s, AKG D-112s, 421s, B-91s (??), B-52s (admittedly becoming my least favorite at the moment), with an Audix D6 and the aforementioned AT2500. One size does NOT fit all in this case... Geri O |
Ondrej Gratz wrote on Wed, 05 January 2005 04:15 |
The egg (112) is VERY uncomfortable for me when I want to place the mic inside the kick (should I ? I've seen people who don't. Where's the "sweet spot" when using D-112 ? Inside/Outside ?). |
Quote: |
The Audix seems to suffer the same problem as above for me. Doesn't it ? (I've seen it only on a picture.) |
Quote: |
It's hard to choose one, isn't it. A trade-off mic is waiting to be invented... Go for it manufacturers, I'm looking forward to it. |
B. Adams wrote on Wed, 05 January 2005 16:53 |
Although I did a band the other day who's kick drum didn't have a head, and I just stuck the mic inside the drum, roughly in the middle, and it worked great there too. |
B. Adams wrote on Wed, 05 January 2005 16:53 |
I really like the D6. It's got a solid bottom end with nice highs. I have no trouble getting nice thump and good beater out of this mic. I've tried it inside the drum, and it worked pretty well there, but I like it best halfway in the port. Although I did a band the other day who's kick drum didn't have a head, and I just stuck the mic inside the drum, roughly in the middle, and it worked great there too. So far, it's my favorite kick mic that I've used. |
Saxyjazz85 wrote on Thu, 20 January 2005 22:07 |
If a kick drum is tuned correctly you should be able to stick an SM57 on it and it should sound fine. TUNING IS KEY! |
Saxyjazz85 wrote on Thu, 20 January 2005 20:07 |
If a kick drum is tuned correctly you should be able to stick an SM57 on it and it should sound fine. TUNING IS KEY! |
Seattle_tech wrote on Fri, 21 January 2005 00:04 |
I've been lucky enough to land a FOH gig with a nice installed system, a drummer who knows how to tune his set, and a decent selection of mics to use on the kick. So far, with this set-up I have enjoyed the 421 the best. It's a simple mic, but has the best all-around sound compared to the RE20 which seems a little too "whump"-ish for me or the D6, which i really don't have a case against. |
PDX Mike wrote on Mon, 17 January 2005 19:54 |
I've found the Sennheiser e602 to be a pretty versatile mic. I can get some attack and thump out of it yet still retain the "tone" of the drum. Where as the D112 just doesn't cut it for a lot of the modern rock bands, and the often times the B91 will have too much attack and not enough thump, and the B52 will just sound too thin, and the D6 seems like it's peak is a little too high and it doesn't seem to "decay" fast enough (if that makes sense?). So if I need to pick just 1 for a rock and roll club mic, I go with the Sennheiser. |
Tom Reid wrote on Mon, 31 January 2005 02:58 |
Anyone had a chance to play with a Ludwig plexiglass 24"? I think it's John Bonahm vintage. The kid plays with a 4" hole in the resonate head, and anything I stick in there doesn't give me any beater, but I get tons of drum. Lot's of resonanace lower the 80hz. We've tried a couple different heads. The Aquarian gives about best results. I started mic'ing the beater side to get more attack. As an added benefit, I get the occasional squeak from the Speed King peadal too. |
KDS&L wrote on Tue, 15 February 2005 08:23 |
I use a D-112 Or a B-52 90% of the time. I have a guy that uses a 26" slingerland tuned really high and to get the bottom I crave I use a D-12e. |
Mike Caldwell wrote on Sun, 09 October 2005 11:17 |
Hello Time for a short rant..... Why are there SO many post on getting the perfect kick drum sound when there are so many other factors in getting and maintaining a good mix. Yes a good kick and bass guitar sound is important but I have heard way too many mixes where it seems that is all they are interested in dialing in and everything else is a distant second! For what it's worth I use the older series of Crown PZM's for kick. Mike Caldwell |
Mike Caldwell wrote on Sun, 09 October 2005 11:17 |
Why are there SO many post on getting the perfect kick drum sound when there are so many other factors in getting and maintaining a good mix. Yes a good kick and bass guitar sound is important but I have heard way too many mixes where it seems that is all they are interested in dialing in and everything else is a distant second! |
John Chiara wrote on Wed, 12 October 2005 19:29 |
I think we need a section on the PSW strictly for discussing mixing. We have a lot of useful sections..but for music mixers there is no place to actually exchange ideas..unless they are "certain" ideas. I believe that knowing more about anything is always good..it encourages excellence..and exposes sameness and mediocrity. Not all of us here are providers for large scale corporate or touring gigs..but you can learn to mix at a local club or county fair..it's all about doing the best mix for the act and the audience... the discussion of "big picture" mix viewpoints is very important and mostly lacking. I think the reason is this. Most "sound people" learn from others..many of whom..in my personal experience..think that if the kick is loud and punchy the band sounds good. . This has even changed recently around my area..everything seems to sound distant..which I think comes from all the bottom feeder/underpaid companies..finally realizing that they are not making any profit... wanting to not damage any gear..too bad for the band's mix. I see a ton of kick and vocal mixes. In reality, a good drum/bass groove is THE most important foundational element..and one that is many times lacking. I record a lot of bands..if the drummer and bass player are good and tight..pretty much anything else can be "fixed." Most mixers also lack a clear reference for a balanced mix..kind of like having the raw ingredients for a cake..but never having actually made a cake..they just start mixing shit together..not sure of what they are trying to make...which makes it hard to even know when you are going in the right direction..let alone learn and hone a practical skill. |
Franz Francis wrote on Thu, 24 November 2005 09:34 |
I have....My solution, any microphone, Klark Teknik DN520 gate, use the MIDI out of the gate to trigger an electronic drum machine, keyboard or any other MIDI device with drum samples. Some small EQ dialing and you get the sound you want. Works for me all the time especially in small rooms and small PA... Franz |
Eric Nelson wrote on Sun, 27 November 2005 03:23 |
A lot of the guys running the national rigs seem to use a combo condenser/dynamic kick drum mic type of setup. The FOH Tech for Toby Keith even used a Beta 52, a Beta 91 and a Yamaha Sub kick at We-Fest this last summer in detroit lakes mn. It was a pretty cool mix, I got to chill @ FOH with him, and he was pretty cool. It was an interesting mix to play around with, it was great. |