In the old days the AKG D12 dynamic was one of the mainstays of kick drum micing; today, the D112 is the modern version of that microphone. With its carefully engineered bass resonance cham- ber the D112 can handle any kick drum with ease. If you want to use a condenser with ultrawide low frequency capability, we suggest the C4000B, with its 0.5% THD overload point of 145 dB. Figure 2 shows the difference between a dynamic and a con- denser at or near the onset of distortion. The dynamic has more residual distortion than the con- denser, but the condenser goes into gross distortion at a point where the dynamic may still be produc- ing only moderate amounts of distortion.
Another big decision is where to put the micro- phone. Since a cardioid microphone is nearly always used, there will be a good bit of low fre- quency boost due to proximity effect. Suggested mic positions are shown in Figure 3. If the micro- phone is close to the middle (position 1), you will get a sound that has per-
haps too much low end and not enough articula- tion. As the microphone is moved progressively off- center, the sound will have more articulation, since you will be picking up less fundamental sound from the head. Stop well short of the edge, keeping a dis- tance of about 4 to 5 inch- es. The actual distance of the mic to the head will normally be in the range from 5 to about 2 inches.
Figure 2
Figure 3
Under some conditions, you may find it useful to put up a second kick mic, recording both on separate tracks, of course. A good combination here would be a dynamic on one track and a condenser on the other.
The Overhead Pair:
Pick these mics carefully, since they provide the largest part of the sonic stage you are looking for. Studio engineers usually pick the best condenser cardioids they have. For the most natural response we suggest a pair of C391’s or C480’s with their ultralinear high frequency response. If you want a slightly brighter sound, use a pair of AKG large diaphragm condensers set in their cardioid position. Another good choice is the C1000S. Its included presence booster creates a frequency rise in the 5 to 9 kHz range that guarantees you’ll get a sound that will cut gently through a complex mix, even when the drummer is playing softly. For the home studio or
The best position for the OH pair is often found about 6 to 8 inches over the player’s head. The mics should always be car- dioids or hypercardioids in order to hold down studio leakage, and should be pointed outward from each other and down toward the
The spacing between the OH pair is fairly critical. If they are close (within one foot), the sound stage you get will be tight with good delineation but with limited stereo spread. As you move the mics from 1 to 2 to 3 (keeping their target aiming
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