These two microphone signals are combined and processed to get a massive kick drum … This type of dynamic microphone captures a lot of the woof and low end a kick drum produces and less of the attack. Best kick drum mics are the Shure BETA 52A , Audix D6 , and the Shure … Some problem frequencies tend to be between 300Hz and 500Hz, a couple dB cut can help open up the overall tone of the drum … So, you could put the mic on a board in front of the kick drum, but then it’s a room mic, and that HF boost is going to capture a lot of cymbal sound, especially considering that most boundary mics have a rising/bright HF response. A common kick out microphone is the Beta 52 from Shure. The kick out microphone is the one we’re most familiar with. I’ve mic’d my kick drum where, rather than having the mic all the way inside the drum, it’s just crossing the threshold of the head – the front end of the mic is just peeking into the drum. When recording a kick drum, most recording engineers choose a dynamic microphone. I have one boundary mic… Another mic I like to use is the Sennheiser 421 – there are three generations of these and each one provides a slightly different tone. The outside microphone EQ will depend on the diameter of the drum and what type of head is being used, but most of the time some tasteful subtractive EQ can make a world of difference. No matter where you place the mic, you can reduce the amount of boominess from the drum … In fact, you can find some large-diaphragm dynamic mics specifically designed to record kick drums. As well as one special type of condenser microphone (a “boundary microphone”) designed to be used inside of the kick drum itself.
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