Kick Drum Mic Comparison: Finding Your Sound

Kick drum mic comparison reveals how different microphones impart distinct character to bass drum recordings. While any quality microphone can capture kick drum, purpose-built options offer frequency responses and characteristics optimized for the unique demands of bass drum recording. Understanding how popular options differ enables choosing the right microphone for specific musical applications.

AKG D112

The D112 has been a studio standard for decades, appearing on countless recordings across all genres. The large-diaphragm dynamic design handles extreme SPL while providing extended low-frequency response.

Frequency character features a pronounced presence peak around 4kHz. This emphasis helps kick drums cut through mixes without additional EQ. The pre-shaped response suits rock and pop aesthetics.

The sound tends toward tight and focused rather than boomy. The attack is prominent; the low-end is controlled. This character suits productions requiring defined kick presence.

Best applications: rock, pop, and situations where kick must cut through dense arrangements. The built-in character reduces processing requirements.

Shure Beta 52A

The Beta 52A provides punchy kick drum capture with tighter low-end response than some alternatives. The supercardioid pattern offers improved isolation from other kit elements.

Frequency response is tailored for kick drum but less dramatically shaped than the D112. The sound is punchy and focused with clear beater attack.

The supercardioid pattern rejects bleed more effectively than cardioid alternatives. This improved isolation benefits multi-mic drum setups.

Best applications: live sound where isolation matters, studio applications requiring tight low-end, and situations where less pre-shaped character is preferred.

Audix D6

The D6 features dramatically scooped midrange with enhanced low-end and attack frequencies. This pre-shaped response requires minimal EQ to achieve modern rock and metal kick tones.

The sound is immediately usable for heavy music—the sculpted response matches genre expectations without processing. This makes the D6 efficient for productions requiring that specific character.

The cardioid pattern provides standard rejection. The compact design fits easily inside kick drums.

Best applications: rock, metal, and any production seeking scooped, modern kick character. Less appropriate for genres requiring natural, uncolored capture.

Sennheiser e602-II

The e602-II provides extended low-frequency capture with focused attack presence. The integrated hum-compensating coil reduces electromagnetic interference.

Frequency response emphasizes sub-bass weight with controlled midrange. The attack presence is clear without being harsh.

The design suits both inside and outside kick placement. The low-frequency extension makes it effective for capturing resonant kick sounds.

Best applications: versatile applications from rock to jazz, situations requiring extended low-frequency capture, productions prioritizing natural character with subtle enhancement.

Electro-Voice RE20

The RE20 is technically a broadcast microphone but has become a studio kick drum standard. The Variable-D design eliminates proximity effect, providing consistent bass response regardless of distance.

The flat, natural frequency response captures kick drum without significant coloration. This neutrality requires more EQ to achieve shaped tones but provides flexibility.

The large format design may present positioning challenges inside smaller kick drums. The premium pricing reflects broadcast-quality construction.

Best applications: studio applications valuing natural capture, jazz and acoustic music, any production where processing will shape the final character.

Beyerdynamic M88

The M88 provides natural, detailed kick capture with extended low-frequency response. The hypercardioid pattern offers excellent rejection.

The relatively flat response captures kick drum accurately without dramatic shaping. The sound provides flexibility through processing.

The classic design has appeared on legendary recordings across genres. The microphone suits engineers preferring to shape sound through mixing rather than microphone character.

Best applications: studio applications across genres, situations requiring natural reference capture, jazz and acoustic applications.

Boundary Microphones (Beta 91A, e901)

Boundary microphones like the Shure Beta 91A and Sennheiser e901 eliminate comb filtering through surface mounting. Placed inside the kick on a pillow or against the shell, they capture unique character.

The hemispherical pattern captures differently than traditional dynamics. The close-to-surface positioning provides distinctive attack character.

These microphones often pair with traditional dynamics—boundary for attack and click, dynamic for low-end weight.

Best applications: layered kick recording, inside placement where traditional positioning is difficult, productions seeking distinctive attack character.

Making the Choice

Match microphone character to production goals. Pre-shaped options reduce processing time for specific aesthetics; neutral options provide flexibility.

Consider positioning requirements. Microphone size and design affect what placement options are practical.

Budget constraints guide practical choices. Many professional recordings use mid-priced options effectively; premium pricing doesn’t guarantee superior results.

Testing microphones on the actual drums being recorded reveals real-world performance that specifications cannot convey.