There are tons of popular kick drum microphones, i.e. the AKG D112, which are always the first to be mentioned on the list of kick drum mics. But in this post are three microphones that are not always the first choice to mic the kick drum.
- Vocal microphone under $200
- Dynamic Condenser or Ribbon Microphones
- Shure SM58 for home studio recording
The three microphones below are such microphones. Have a look; one of these microphones may just be the kick drum mic for your next drum recording session.
Three Microphones You Didn’t Know Were Kick Drum Mics
Sennheiser MD 421
Even if you didn’t know that engineers often use this microphone to record the kick drum, I’m sure you’ve heard of the Sennheiser MD 412.
The Sennheiser MD 412 is a popular microphone because it is versatile and it compliments just about any instruments you use it on.
Because of its large diaphragm and ability to handle high SPL (sound pressure level), the Sennheiser MD 421 is a popular choice for micing kick drums.
When placed inside the kick drum, pointing directly at the better head where the beater hits, this microphone captures a great sounding attack of the kick.
Even though this microphone has a low-frequency extension, most engineers often use the Yamaha sub-kick alongside it to capture the very low frequencies if they need more punch to the kick.
The Sennheiser MD 421 is not a microphone you will regret getting.
You won’t just use it on the kick drum because it works on just about any instrument.
Use it to mic the bass amp, guitar amp, snare drum or toms.
Check reviews and the price of the Sennheiser MD 421.
The Audix D6 was made for recording low-frequency instruments such as kick, bass amp and low tom.
Whether you place it inside the kick drum or outside, the low frequency of the Audix D6 translates well with plenty of low-end power.
If you are going for a modern pop like sound, the Audix D6 is great on its own.
By placing the D6 inside the kick drum, closer to the resonant head (about 3 inches away) and pointing directly at the beater-contact point, you will capture a kick drum sound that has a nice balance of both attack and low end.
Because of the mid-frequency dip in this mic’s frequency response, you won’t get that mid-range punch from the D6.
However, the high-frequency boost in the frequency response gives it a bit of presence, which often makes the kick stick out in your mix.
Unlike the Sennheiser MD 421 that compliment every instrument you mic it with, the Audix D6 seem to work best with low-frequency instruments.
Check reviews and the price of the Audix D6.
The Audio-Technica ATM250 looks similar to the D6, and it also performs a similar way.
Placing the microphone just a few inches away from the resonant head inside the kick drum, you will capture a balance between the bass end and the click/attack of the drum.
However, instead of pointing the microphone directly at the batter head where the beater hits, point it off the centre axis, you capture more of the low end, which make the kick sound punchier.
The low-frequency response of the ATM250 gives the microphone a warm low-end presence.
Check reviews and the price of the Audio-Technica ATM250