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Kick mic

#21
KingRazor said:
I understand that, but it really shouldn't make a difference.

I'm sending the raw signal of the mic to the DAW, then using EQ, compression, etc after the fact.

I simply noticed that the tone coming from our kick mic, when recorded, sounds weak and thin. I don't really notice a lack of bass when mixing it live because I have it pumping through the sub.
Click to expand...

Than it's a matter of post-recording (mix stage) processing. Allmost every kick sound I recorded was week sounding (compare with the modern music we hear on the radio). You have to use the right compression and eq settings and type.

Welcome to the mixing world. Ain't it fun?
 
#22
Audix D6 best kick drum mic I have used for rock bands.
If you still think the AKG D112 is a good kick mic.....you need to get out more.
Probably the worst sounding and performing of any, needs a ton of EQ to correct and placement is key when using.
As others said with the D6....set it and forget it.
 
#23
Emibass said:
Than it's a matter of post-recording (mix stage) processing. Allmost every kick sound I recorded was week sounding (compare with the modern music we hear on the radio). You have to use the right compression and eq settings and type.

Welcome to the mixing world. Ain't it fun?
Click to expand...

I understand it won't sound perfect until after it's been mixed post-recording, but do recording engineers really wind up cranking the bass on kick drums that much? It seems like I'd be breaking every "rule" I've ready about EQ to make the kick sound right.
 
#24
For those curious, this is an example of how I EQ the kick for live:

Kick.jpg


Although I think last night when I mixed I had a bit more of a boost in the 5k area.

I didn't get a chance to look at the mic because things were a little hectic that night.
 
#25
Ok, two quick'uns.

What is the make and model of kick mic you're currently using? It'll help us a lot on the ol' advice front!

I would blame a skinny kick sound on poor placement/processing, rather than a weak mic. That said, your EQ looks fine, and we're talking pre EQ anyway.

Also, what are you monitoring your recordings on? Headphones? decent studio monitors? Laptop speakers? :eek:
 
#26
Jimbob Jones said:
Ok, two quick'uns.

What is the make and model of kick mic you're currently using? It'll help us a lot on the ol' advice front!

I would blame a skinny kick sound on poor placement/processing, rather than a weak mic. That said, your EQ looks fine, and we're talking pre EQ anyway.

Also, what are you monitoring your recordings on? Headphones? decent studio monitors? Laptop speakers? :eek:
Click to expand...

I'll have to wait until Saturday to figure out the mic, too busy last night and I won't have a chance to go down to the church tonight or tomorrow.

Monitoring through some Sony Studio Monitor headphones. Not the absolute top of the line, but not $20 headphones either.

I'll try to get a picture of how we have it placed, too, so you guys can see.
 
#27
KingRazor said:
I understand it won't sound perfect until after it's been mixed post-recording, but do recording engineers really wind up cranking the bass on kick drums that much? It seems like I'd be breaking every "rule" I've ready about EQ to make the kick sound right.
Click to expand...

Yes engineers crank the bass - heck many of the better ones I've worked with will sequence pulse beats

Low end reacts to the room and or/headphones

If you didn't do anything except move your subs in the same room
 
#29
Vinny D said:
Audix D6 best kick drum mic I have used for rock bands.
If you still think the AKG D112 is a good kick mic.....you need to get out more.
Probably the worst sounding and performing of any, needs a ton of EQ to correct and placement is key when using.
As others said with the D6....set it and forget it.
Click to expand...

Yes, set it and forget it, because no matter what else you do you will have a ridiculously, cartoonishly over the top, mid scooped, generic kick drum sound. The swing between the mid cut and the presence peak on those things is almost 20dB.

For those of us that like drums that sound like, you know, drums a D112 works great. Or an RE20 even.

If you want a cross between a cannon and a drum machine the D6 is a wonderful choice. Make sure to compress the hell out of it while you are at it. You'll sound just like a Breaking Benjamin record. Or something. I guess.

One of the greatest tools for hack engineers to make things sound 'freakin' huge, man'. See the other 500 threads where people complain about live mixes being all kick drum.

God do I hate those things.
 
#30
Bassoballs said:
I usually use a Beta 91 and a Beta 52 together.
Click to expand...


One of the best setups going, IMO/IME... Otherwise, the Beta 52 or a D6 by themselves - I'm not a big fan of the D112 for much of anything...

Lastly - you don't generally gate a kick drum - compress, yes... Gates are normally used for toms that are "ringy"...

Oh, and this thread illustrates are why people don't value "knowledge without experience" - because people without a fair amount of experience *think* they know more than they actually do...


- georgestrings
 
#31
I went to an audio, video & lighting conference one year and they had a guy who had been doing sound for a long time and worked with some big names in the music scene.

At one of the panels they had, he did a demonstration of how to EQ a kick drum in Pro Tools.

He had a recording of a drum kit and solo'd the kick track. You could hear other drums and even the faint sound of some vocals in the background. The first thing he did was add a gate, which eliminated all of the noise other than the kick drum itself. Then he EQ'd it. It sounded great. The reason I use a gate is because we close-mic everything, and I don't like the mics to pickup other drums.
 
#32
projectMalamute said:
Yes, set it and forget it, because no matter what else you do you will have a ridiculously, cartoonishly over the top, mid scooped, generic kick drum sound. The swing between the mid cut and the presence peak on those things is almost 20dB.

For those of us that like drums that sound like, you know, drums a D112 works great. Or an RE20 even.

If you want a cross between a cannon and a drum machine the D6 is a wonderful choice. Make sure to compress the hell out of it while you are at it. You'll sound just like a Breaking Benjamin record. Or something. I guess.

One of the greatest tools for hack engineers to make things sound 'freakin' huge, man'. See the other 500 threads where people complain about live mixes being all kick drum.

God do I hate those things.
Click to expand...

So I guess you don't get out much do you.......
 
#34
georgestrings said:
One of the best setups going, IMO/IME... Otherwise, the Beta 52 or a D6 by themselves - I'm not a big fan of the D112 for much of anything...

Lastly - you don't generally gate a kick drum - compress, yes... Gates are normally used for toms that are "ringy"...

Oh, and this thread illustrates are why people don't value "knowledge without experience" - because people without a fair amount of experience *think* they know more than they actually do...


- georgestrings
Click to expand...

This forum is insane.

Of course people gate kick drums.

All the time, almost standard procedure in many circles.

Whether it's a good idea for what you are trying to do is another question, but the notion that 'you don't generally gate a kick drum' is completely out of step with reality.

OP: Go to Pro Sound Web, most of the people responding here sound like they have never run a non-trivial rig.
 
#37
Hi.

AKG D12 or Sennheiser MD421 for me.

For anything low freq. and high SPL. The D12 will take almost anything one can throw at it, 421 a bit less but it does sound better. To my ears anyway.

Never cared about the D112 much, but it's passable if the decision is between that and no mic.

I've learned to live with anything though, if it can't take the SPL, I'll just move it on the rear skin.

Regards
Sam
 
#40
Ok so I was curious and went on youtube to listen to some comparisons of kick mics through my studio monitor headphones.

Out of the ones I heard, I really liked the beta 52. Very crisp sound, didn't sound boxy or hollow or muddy like some of the other mics. I'd like to hear what a 52+91 sounds like.
 

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