Massive Kick Drum Mic Review

Friday, June 8th, 2012 | by

Whether you’re sifting through a large mic closet, or planning a purchase, deciding on the “perfect” microphone can be a daunting task. In this review we will be comparing over 20 dynamic microphone setups for kick drum purposes.

Microphone requirements vary greatly for recording and live performance. You might want a polished sound out of the box, or you might prefer something uncolored, with the ability to fine tune in the mix.

Musical genre can have a large influence on microphone selection. Metal and Jazz, for example, have different aesthetics and can benefit from differing microphone selections. Environment and budget are also factors. Using a $500 mic at a local battle of the bands might not be an affordable option, or in the best interest of the microphone. With these examples you will hopefully walk away with a better tonal idea of what is available.

Test Setup

Kick Drum: 22'' Gretsch Jasper (7.1mm, 6-ply Maple/Gum shell, no reinforcement hoops)
Batter head: Remo Powersonic
Resonant head: Remo Renaissance

Mic placement: just inside the port in the resonant head, pointing at the beater
Mic Preamp: Hardy M1

Audio Samples

The first four hits you hear in each example is the isolated kick drum microphone, followed by a few measures with additional overheads/room microphones. This will give you an idea of how the microphone responds to the source, as well as how it stands up in a mix context.

[We’ve put the 28 audio player widgets into a separate window so this review page would load faster; click the button below to access the audio files.]

Listening and Usage Notes

Describing the sound of 20 microphones isn’t easy. Some build/quality issues and tonal characteristics are obvious, but one quickly starts measuring up the subtle differences.

Each one of these microphones gets the job done, and some are tailored perfectly for kick drum duties. To help describe the tonal qualities, I’ll sort them all into four main categories: Boomy, Neutral, Punchy, or Hyped.

matthew mcglynn

As Eric notes below, some of these microphones are designed so that the XLR jack is at 90° to the mic’s axis of directivity. In other words, when you point the mic at the kick-drum beater, the cable points down towards the floor. This can make cable routing more difficult for this particular placement; it is easier when the cable exits from the rear of the microphone, straight out the hole in the resonant head.

Audio-Technica ATM25/LE

Audio-Technica ATM25/LE
Neutral with some flattering enhancement. Full balanced response. One of my personal favorites in the group. Something about this microphone screamed quality.

Pros & Cons:

  • Quality metal enclosure, with a sharp look.
  • Easy to position.
  • Multipurpose microphone. Would work well on other sources.

Heil Sound PR-48Heil Sound PR-48
Boomy but not dull. Nice full low-end extension.

Pros & Cons:

  • Would do well in the club environment.
  • Positioning is awkward
  • XLR location is problematic
Heil Sound PR-40

Heil Sound PR-40
Neutral. Clear present sound with wide response.

Pros & Cons:

  • Quality metal enclosure & mount.
  • Multipurpose microphone. Would work well on other sources.

AKG Acoustics D 112AKG Acoustics D 112
Punchy. A tad thin or boxy resonant quality at this proximity,
but with a fair amount of punch.

Pros & Cons:

  • Widely known & available.
  • Positioning is awkward
  • XLR location is problematic

MXL A-55 KickerMXL A-55 Kicker
Hyped. Punchy EQ’d sound out of the box.

Pros & Cons:

  • Easy to position.
  • Great for live, Pop/Rock/Metal recording
  • Plastic mount/XLR base.

Audio-Technica ATM250Audio-Technica ATM250
Punchy. Flattering but un-hyped sound.

Pros & Cons:

  • Quality enclosure & mount.
  • Easy to position.

Electro-Voice N/D868Electro-Voice N/D868
Boomy/Punchy. Full sound out of the box.

Pros & Cons:

  • Quality mount.
  • Easy to position.

Electro-Voice RE20Electro-Voice RE20

Pros & Cons:

  • Multipurpose microphone. Would work well on other sources.
  • Roll-off filter
  • Mount isn’t ideal due to microphone’s weight

Electro-Voice RE320Electro-Voice RE320
Neutral. Present sound also a personal favorite of the group.

Pros & Cons:

  • Multipurpose microphone. Would work well on other sources.
  • Optional “kick drum curve” EQ
  • Mount isn’t ideal due to microphone’s weight

Miktek PM11Miktek PM11
Hyped! Scooped EQ/Compressed sound out of the box.

Pros & Cons:

  • Minimal processing needed.
  • Overly hyped for many genres.
Avantone Pro MONDO

Avantone Pro MONDO
Boomy. Full sound with low-end extension & punch.

Pros & Cons:

  • Quality metal enclosure, with a sharp look.
  • Easy to position.
  • Nice suspended shock mount.

Shure SM7BShure SM7B

Pros & Cons:

  • Multipurpose microphone. Would work well on other sources.
  • Roll off, & mid boost filter options
  • Positioning can be a problem.

Shure Beta 52

Pros & Cons:

  • Robust construction
  • XLR location/mount spacing is troublesome

Shure Beta 52AShure Beta 52A

Pros & Cons:

  • Robust construction

Sennheiser Electronics Corporation e 602Sennheiser e 602

Pros & Cons:

  • Easy to position.
  • Low profile mount.

Audix D4Audix D4

Pros & Cons:

  • Small profile.
  • Useful for other drums.
  • Low end roll off below 50hz

Audix D6Audix D6

Pros & Cons:

  • Minimal processing needed.
  • Overly hyped for many genres
Sennheiser Electronics Corporation MD 421-II

Sennheiser MD 421-II

Pros & Cons:

  • Multipurpose microphone. Would work well on other sources.
  • Roll off filter

Lewitt DTP 340 REXLewitt DTP 340 REX
Boomy. Full sound with low-end extension.

Pros & Cons:

  • Quality metal enclosure.
  • Heavy duty metal mount.
  • Optional “kick drum curve” EQ
  • “kick drum curve” EQ is subtle [According to Lewitt, the EQ provides an 8dB boost at 50Hz plus a subtler lift at 3–5kHz, but these changes might not be as apparent with close mic positioning, due to proximity effect.]

Raw WAV Audio

Download the original WAV audio files here.

Session Photos

See the session photos here.

Final Thoughts

After having a chance to listen back to these microphones as a group, my personal collection will be seeing a shift in use, and most likely a new addition. Unexpectedly, the Heil Sound PR-40Heil Sound PR-40 jumped out at me with its upfront attack and presence without sounding artificial. You can really hear the intricacy of the drum. The PR40 seems to be an ideal dynamic to place near the batter head. For most recording situations, I use independent microphones for the batter and resonant heads. I can see myself adding a PR40 to my collection to be paired with a large-diaphragm condenser.

The Avantone Pro MONDOAvantone Pro MONDO also grabbed my attention. I would have no issue using this in a single mic situation over my go-to mics, the Shure Beta 52 or Sennheiser e602.

Lastly, move over D6, we have a new “Metal kick drum king.” The Miktek PM11Miktek PM11 takes the title for the scooped mid & hyped attack/sub frequencies sound. Next time you are running sound for your local “Death Metal for jesus” or “Underground Punk brought to you by Apple” festival, this is the mic of choice.

matthew mcglynn


Eric did a monstrous amount of work here — a day in the studio tracking 28 different kick drum mic configurations, plus photos, ‘darkroom’ time, video shooting and editing. It’s fantastic. (Thank you, Eric!) Visit Eric online at

If this review was helpful to you, please leave a comment to tell us what mic you picked, and how it is working for you.

Thanks also to all the vendors who sent gear for this evaluation: AKG (via Definition Branding), Audio-Technica US, Avantone Pro, Heil Sound, Lewitt Audio (via TruNorth Music), Miktek, and Shure. Microphones from Audix, Electro-Voice, and Sennheiser were the personal property of either Eric or myself. None of the vendors here provided compensation for this review.

Note that two Beyerdynamic microphones were lost by FedEx, and we regret not being able to include them here; thanks and apologies to American Music and Sound for their efforts.

If you are shopping, please consider buying via the links on this website; the small commissions generated thereby help offset the considerable costs of producing comprehensive evaluations such as this one. Find sale prices in the B&H shopping tool below:

Finally, if you’re hungry for more kick-drum mic madness, check out the Home Recording Show podcast’s kick-drum shootout.

Or if you’d like to hear $20,000 worth of drum overhead mics, visit the Prairie Sun Drum Overhead Mic Shootout.

Posted in Drums, Microphones, Reviews, Shootouts | 53 Comments »

53 Responses to “Massive Kick Drum Mic Review”

  1. Brandon

    June 8th, 2012 at 2:59 pm

    This is one of the best shootouts yet. Thank you for doing comparisons of both the individual mic and the full kit, and for using short, combined clips. That makes comparisons a lot easier. Keep up the good work!

  2. Blair

    June 9th, 2012 at 8:12 am

    These are fantastic. I felt like I learned something, and the video was extremely helpful for seeing the whole picture of what’s going on.

  3. Big Dave

    June 9th, 2012 at 12:50 pm

    Thanks so much! I learned a bunch. I have actually listened to all of the samples repeatedly.

    It is interesting to consider the high pass filters. It’s like they retain their character but make the drums take up less space. All the power is still there but more room. I am surprised at how well the vocal oriented SM7 and RE20 did.

    All of them sounded at least OK, except the ones that had uncontrolled low end ringing like the Miktek and the Avantone. The SM57 even did well, it was a little pinched individually but in context it sounded pretty OK. I will be listening to these repeatedly.

  4. Big Dave

    June 9th, 2012 at 1:00 pm

    And the D112 is still a D112. sounds like a basketball.

  5. Kern

    June 9th, 2012 at 3:52 pm

    Thanks for doing all of the work for us! I have always wished to watch this very video, and now we all know where each mic stands, or is it sits? Thanks so much!

  6. Travis

    June 9th, 2012 at 5:38 pm

    The MXL really impressed me here. Big solid thudding low end. Combine that with the Miktek for click and I think you’d have a killer combo.

    The E602 I didn’t like in solo but it worked well with the rest of the kit.

  7. Kerouac

    June 9th, 2012 at 6:37 pm

    The EV N/D868 was hands down my favourite out of the entire bunch. I’m definitely going to have to track one down and try it in my own set-up.

  8. matthew mcglynn

    June 9th, 2012 at 6:58 pm

    @Kerouac, I’ve been a fan of the N/D868 too. In this test, the RE320 with its EQ enabled sounded really close to the 868, so that might be worth checking out too.

  9. Jared

    June 10th, 2012 at 6:09 am

    I love this kick mic shootout! Thanks for taking the time to make this. Having the video available is a really nice touch. I would love to see a similar shootout for snare mics one day. Keep up the great work!

  10. Eric Beam

    June 11th, 2012 at 6:58 am

    The e602 has always been interesting. Sometimes love it, sometimes not. the newer e602II has a more exaggerated EQ.

  11. ignitron

    June 11th, 2012 at 12:13 pm

    I like how Miktek is described in its page as “Unlike most dedicated kick-drum microphones, the PM11 will not produce an exaggerated “scoop” EQ curve; its design goal is to have a more natural sound.” Yeah right…

    Thanks for the shootout, once again you did an awesome job!

  12. Eric Beam

    June 11th, 2012 at 12:51 pm

    I noticed that as well, Ironic.

  13. Johnnie

    June 11th, 2012 at 11:16 pm

    Another good post, Matt. I was pleasantly surprised by several of the samples, but I am now even more excited about the fact that a PR40 has been recently added to the collection at work.

  14. Jesse

    June 12th, 2012 at 2:51 am

    Nice review but, as much as I hate to be that guy, I’m surprised that none of the Beyerdynamic mics made it into this shoot out.

  15. matthew mcglynn

    June 12th, 2012 at 7:21 am

    @Jesse, we arranged for a loan of the M99 (my favorite broadcast dynamic) and TG70d from beyerdynamic, but as noted in the review’s closing comments, the mics were lost in shipping. We tried for two weeks to resolve this, but could not reach our contact at the distributor. By then, Eric had had to rearrange his studio to meet other session demands, and although we could record those mics now, the results would not be comparable to the rest.

    It is in general a significant logistical challenge to coordinate all the gear loans for these big shootouts. Sometimes, obtaining loaner gear is a simple matter. Other times, getting approval takes weeks. Then, some gear gets backordered for weeks. Some gets shipped to the wrong place, or never shows up. And by then, the first pieces to arrive are overdue for return. All things considered, I think we did a remarkable job on this one.

  16. Jesse

    June 12th, 2012 at 7:50 am

    I just saw that in the closing comments, so I retract what I said above. Definitely liked what I heard here and added a few mics to my wish list now. Too bad the M99 couldn’t make it.

  17. Jim Alfredson

    June 12th, 2012 at 1:35 pm

    I just listened to all the kick mics in the shoot-out blind and wrote down my favorites. Speaking of, maybe putting numbers next to each audio clip would help keep track of which is which when listening blind.

    Anyway, my favorites were the Lewitt flat, the SM7b with the presence boost, the N/D868, the ATM250 (loved that one), the ATM25/LE (loved that one, too), and the RE320. I own an original ATM25 (no LE) and an RE20 (but it is usually on lower Leslie duty). My buddy has an SM7b. I’m going to have to borrow it and try it on kick.

    Thank you for the shoot-out!

  18. rene

    June 13th, 2012 at 7:59 am

    excellent shootout!

    D112 landed near the bottom of the list for me, and the kick pad on the 57 didn’t do much for me.

    I was most impressed with the Heil PR8, The Audix D6, The Miktek and the Avantone Mondo.

    Very cool stuff!

  19. Yoav

    June 13th, 2012 at 6:34 pm

    I love shootouts. Some blind impressions:

    I have to respectfully disagree with anyone who likes the Miktek. If you want that kind of presence, boost 6-10 dB centered at 3 kHz (depending on your mic). I also didn’t like the Heil PR-48.

    I liked the MXL best for it’s robust sound, and the EV RE320 (w/ EQ) for a more neutral/natural yet still present sound. Both have a presence boost in the upper mids, but that helps cut through the mix.

    I was surprised by my not-positive impressions of the D-112, and my even worst impressions of the RE20. I guess neutral just doesn’t work (for me) for inside kick mics.

    I’m VERY VERY impressed with the Earthworks kick pad, especially considering it was connected to the SM57, which doesn’t really target kick drums. I bet it would work great on the D112.

    Oh, and numbering would be very useful. every time I wanted to compare to #6 (MXL) I’d have to count my way there and back, and I think I skipped the MD441 (flat).

    Keep it up!

  20. David Gann

    June 14th, 2012 at 6:14 am

    Love the blind sample shootouts!

    One suggestion or request for the blind samples: Please number the samples. I find myself losing count of which sample I’m on because they all look alike.

    I don’t do any drum recording yet, but I loved the way the Heil PR48 picked up the detail of the ringing sound inside the drum. I guess everyone has different tastes in what they like.

    Please keep all the shootouts and educational materials coming!!!

  21. Jeff Boehm

    June 27th, 2012 at 6:44 am

    Well, considering I got a “deal” on the D112, I was fully prepared to congratulate myself on being so smart in acquiring it (all based upon reviews). . . however . . . at least in this mic position . . . I’d have to save YUCH! I think it would work better farther back, it certainly didn’t do the job up close. Well, that’s good to know for when I need it. I was pleased with the AT’s, pleasantly surprised by the SM7B’s, but I think that I’d go with the Lewitt if I sell my D112. :-)

  22. Plop

    June 30th, 2012 at 6:35 am

    How do these mics compare for output?
    I realize for close mixing a bass drum that’s not going to be an issue, but I have a sm7 and it’s a challenge if you mic from farther away, which I usually do.
    I’ll bet you would get very different results if you had set these mics back a foot or three.

  23. matthew mcglynn

    June 30th, 2012 at 6:52 am

    @Plop, some of these are very low output, like the SM7 (sensitivity 1.1 mV/Pa), or the MXL A-55 (sensitivity 0.15 mV/Pa!). You can find the sensitivity listed on each of the microphone’s profile pages, in the Specifications table below the description.

    Dynamic kick-drum mics are usually padded internally to reduce their output. Or, perhaps they use moving-coil cartridges that are inherently low output. This is because they are designed to be used close, either up against the resonant head or inside the drum near the batter head. In either location, SPLs are high, and a highly sensitive microphone in that position might overload its own circuitry or the preamp.

    It is more common to use a condenser microphone in the position you describe. The SM7 might well sound great there too though; it is a “Swiss Army mic” in that it generally sounds good everywhere. If you’re not getting enough signal, you could try running it through the Cloudlifter from Cloud Microphones; this will give you 20-25dB additional gain with no added noise. See my Cloudlifter review here:

  24. Stig

    July 3rd, 2012 at 7:17 am

    Thanks a lot for doing this. I almost ordered the Miktek PMD4 kit a week ago, just because I like the CV4 a lot, but I’m so happy I didn’t. The PM11 sounds absolutely horrible, that is, for my needs. I don’t do metal 😉

    I picked out the SM7B as my favorite in the blind test. Sounds natural to me, and will actually give me some leeway in the mixing process.

    Thanks again!

  25. chris porro

    July 12th, 2012 at 7:47 am

    wow comprehensive shootout. for years i used a akg d112. then one day a friend loaned me a shure beta 52 which i hands down liked better. basically i’d eq the d112 to have the attack low end sound the the beta 52.

    i tend to go for a hip-hopish kick.

    i’ve also tried the sm7 and sm57 and no surprise they weren’t for me. i can see using these more accurate/less hyped mic for something like metal where you don’t want a boomy kick.

    your mic placement looks similar to what i did but man can you hear the inside of the drum more in your samples. mine are here: looks like your diaphragm may be a bit further in the drum.

  26. Eric Beam

    July 12th, 2012 at 1:19 pm

    @chris porro

    Sounds like you would be a fan of the Mondo.
    In these examples the drum has zero dampening, Could be the cause the the “more drum tone”.

  27. alba359

    July 19th, 2012 at 9:27 am

    Sincere thanks for your time and effort on the shootout. It came just in time as my N/D 868 was stolen a couple of weeks ago. Been using a 57 but missing the great sound of the 868. I’m now looking for a less expensive mic. It’s between The Avantone Mondo and The MXL A55.

  28. Mark Wilhelmsson

    July 27th, 2012 at 3:18 pm

    The ATM25 has some weird lower-mid stuff going on and the ATM250 sounds like it bottoming out or breaking up or something. Makes me wonder if it was limited to this test or if they do that consistently. Both were still my favorites in this shootout.

  29. Travis

    July 29th, 2012 at 10:28 am

    Listening to this again (love being able to do a blind shootout by the way!)

    I think it would have been better for the “in the kit” clips if the room/overhead mic’s had a high pass on, or the kick mic was louder in the mix, alot of the time the room/overhead mic’s really seem to dominate and make it harder to hear how the kick mic sounds in the full kit context.

  30. Colin

    December 22nd, 2012 at 8:02 am

    Very impressed with Heil PR40 and EV RE320 ! Both are natural and clear with good balance.

  31. Dave Boulden

    January 29th, 2013 at 4:09 am

    I’ve only just spotted this shootout from a link in your Twitter feed. For ages I have been keeping an eye out to snap up an Audix D6 to complement the D112 I already have in my studio, but I am really pleasantly surprised by the sound of the Avantone Pro Mondo and how well this stands up to the rest at such a budget price. Shame we don’t seem to be able to get these in the UK yet, otherwise I’d be snapping one up straight away at that price.

  32. matthew mcglynn

    January 30th, 2013 at 11:27 am

    @Dave, Avantone has a UK distributor: SCV-London LTD
    The Mondo isn’t specifically listed but they can get it for you.

  33. Brett Sabo

    April 7th, 2013 at 9:27 am

    I love the combo of RE20/d112 or RE20/beta52. I’m surprised the shure 91a didn’t make it on here. excellent shoot out.

  34. Richard Penrose

    May 4th, 2013 at 11:11 pm

    Thanks for doing this shootout. I’m currently looking to buy my first kick drum mic for live and am pretty torn between the Avantone Mondo, MXL A55 and Sennheiser E602.
    I would like something that can be used in a wide variety of settings.

    I am a little put off the A55 due to it’s low output so I’m leaning towards the Avantone Mondo but am slightly worried this mic might be too boomy or not versatile?

  35. Richard Penrose

    May 8th, 2013 at 6:48 am

    Was the gain on the preamp on exactly the same level for all these clips or was it set at different gain levels for each mic?

  36. Eric

    May 8th, 2013 at 10:49 am

    @Richard Penrose
    If your looking for versatility out of those three I would go, e602 or Mondo. Both are fine mics. The preamp was adjusted as needed & Matt also level matches in post before posting.

  37. Bruno Bonaventure

    May 23rd, 2013 at 11:29 am

    Awesome! I can’t thank you enough for putting this up! Very educative!

  38. Aenn

    October 4th, 2013 at 8:02 pm

    Where’s the frequency response graph for the Avantone Mondo? It does look rather cheap/fishy without a graph…

  39. Aenn

    October 9th, 2013 at 10:39 am

    Can you please prod Avantone to measure their microphone? It’s cheapish and looks interesting, but my recording method requires a frequency response graph.

  40. dr no

    November 3rd, 2013 at 5:25 pm

    after watching the shootout, I’ve decided on the mxl a55. it seems to have the best punch without any ring. I use an a6, but the a55 is more useful.

  41. dr no

    November 8th, 2013 at 11:17 am

    I just received my mxl a55 kick microphone. it sounds great! Very deep lows and punch to boot . I had to accually turn the mixer down on the kick channel a bit from the audix D6 I borrowed ! It truly is an “Ass” kicker ! The real kicker is I don’t even USE a kick drum .I mic an old tweed suitcase with a foot beater from a child’s drumset. WAY TO GO MXL !

  42. Tele' O'Neil

    November 10th, 2013 at 7:58 am

    I was very taken by the amount of effort you put into everything that you do for the sake of recording and helping others in this fantastic field. I am glad I’m not the only one who goes to all lengths to experiment with things.

    I first ran into your website when I did a search on a CAD E300 mic years ago and read the info that you had posted regarding that mic. I had a chance to try a demo for a couple of weeks back in 1999 and have been kicking myself for not buying the mic when I had the chance to do so. The vocal take I did with that mic was so consistent in volume that even all the mic’s three to four times the price don’t get the job done. If I had the opportunity to score one I’d be the happiest person on the planet.

    I thought you might be interested in having a listen to these two videos on Youtube just as a reference as to what a simple & cheap mic setup can produce. My only criticism of this focus’s on the fact that the snare should be louder with more character and options. Considering this is just an ad for the Soultone Cymbals it makes for a fantastic statement of quality sounding instruments that can be mic’ed up with minimal mic’s. I had never heard of Soultone until I purchased the Steven Slate Drum sampler and am now a firm proponent of their cymbals along with the DC California & AB Drums.

    Here’s the links and I do hope you find them worthwhile listening to.

    Drummers Name is : Brook Alexander
    Cymbals by : Soultone
    Drumkit by : DC California
    Youtube Video :

    Drummers Name is : Brook Alexander
    Cymbals by : Soultone
    Drumkit by : AB Drums
    Youtube Video :

    Mic’s used for both demo’s
    over heads (SM58) and room mic (PG81) on the floor in? front of the kit. no mic inside the kick.

    I actually email’d the Soultone customer service rep to find out what mic’s were used and she sent a reply back verifying the mic’s that were used. All I’ve got to say is “Are you kidding me? for around $400 I can mic up a kit and have results that are fantastic!”.

    Once again, I thank you my friend for your time & effort
    Tele’ O’neil

  43. Eric Calvert

    December 11th, 2013 at 3:09 pm

    What are you using as room/overhead mics here? They sound great!

  44. Blaise Ferrier

    December 13th, 2013 at 10:00 pm

    What à wonderfull job man!
    Just whaooo!
    Thank you very much for this dream kick mic test. I realy know wich is definitly mine now.
    God bless you sir!
    Sincerely yours.
    Blaise from France
    Hall Blues Club’s Sound engendrer

  45. Eric

    December 17th, 2013 at 10:35 am

    @Eric Calvert
    I believe I had Earthworks SR78’s up that day, possibly 414’s

  46. Adam

    January 11th, 2014 at 9:49 am

    This is my take on live use of the D6 and 602II :
    Both are the best mics I’ve used for live, and I own both.
    Both has a specific sound: their sound. Great sound. You can throw whatever kick drum you want at them- be it open, closed, great, crappy – will always get usable results, in a subbed or subb-less systems. Both has no mud, have great low and high end.
    If I’m in a rush, I trust them for good starting point even without a sound check.
    I can’t say these things for the Beta 52, and the D112 is out of the question.
    All the mics mentioned passes most tech riders- as original requests or alternatives.
    Both senn and audix have great low end, but the sennheiser is more versatile on the top end- meaning- you can push a wider range of frequencies to taste to get the click more audible. It also has a slightly fuller bottom over a slightly wider range as well. Both together in different positions makes the most versatile and wicked 2 mic kick sound. I carry them both all the time.
    I don’t have this view of different mics for different genres in live use- the mic has to provide basic characteristics and qualities. then I further shape the sound for what I need from it in the mix. These two are champs.

  47. Simon

    February 2nd, 2014 at 3:12 am

    Great site guys very very helpful gave me a very good insite on bass drum mics on the market that I whould not of otherwise know thanx

  48. eddie scarab

    March 11th, 2014 at 11:50 pm

    After going back and rereading this shootout I wanted to make a comment or two. I have used many kick mics both live and in the studio. Personally I have never really had that much trouble getting a decent sound out of the D112 with a properly tuned drum and proper eq-ing, but I also admit it isn’t always the best mic for live applications. Like others including the reviewers stated, mics like the Miktek, D6, and Heil are best suited for metal/hard rock and are less versatile. My vote goes to the EV868 hands down without even listening to the shootout. I have used enough of the mics in the test to make an accurate assessment without hearing them. This is what I have to say; like others yes, it is simply the best sound out of the box on ANY drum. Like others said if you want the D6 click, it can do it with a little selective eq-ing, but the point is it can do it. Just like it can get one of the best big, fat, open live sounds you will ever hear, again pretty much out of the box. It has the most versatile and useful sound possibilities of any of the other mics hands down. And if you know what you are doing with tuning, mic placement and eq-ing, it will pretty much duplicate the sound of any of the other mics. But for a big, low, fat, natural instant kick sound, you simply cannot beat this mic! Studio or stage I have never had a kick be so versatile as well as easy to use. And it works just as well on bass guitar and organs. If you have not tried this mic yet, rent one if you have to, but try it! There is nothing else like it out there….

  49. Lorenzo

    May 30th, 2014 at 6:00 am

    Hello, ever tried with akg d12 ? It’s really impressive!!

  50. e. scarab

    June 5th, 2014 at 3:20 pm

    Just want to put my 2 cents worth in on the EV N/D868. This mic has got to be the easiest to use kick mic I have ever worked with. As the ads state and the “manual” suggests, you can just throw it in on a pillow and will get a better sound than most and it makes a novice sound like a pro. Many people love the D-6, but like a few other “hyped” mics they are all more or less one trick ponies limited to certain genres. And I am always amazed when I read of people that love the D-6 but use it with a sub kick or some other condenser mic.There is simply way to much beater and upper frequencies for a lot of music and they require extensive eq’ing to useful outside of what they are good for. Well try a 868. It is listed as boomy and punchy. This is a good thing because here is the best part about the EV N/D868, first of all, the “boomy” simply means if you have a low tuned bass drum with a big, fat, resonant sound, you will get the full “boomy” sound of the drum. This can be controlled quite a bit simply with mic placement.and if you don’t want or need the boom, a simple high pass roll off will work quite nicely. And if you want punch and click, it is there also and can just as easily be dialed out by mic placement or a low pass filter. The point is, this mic, although a “pre eq’ed” mic (to a degree), the out of the box sound is incredible and full and can cover pretty much the entire needs spectrum with either mic placement or very simple eqing. Don’t get me wrong, D112’s are good (if you can get a good sound, you’re just lazy….) as are many of the obvious choices. But if you are looking for a purpose built mic for bass drum or bass guitar or even creative uses elsewhere, but one that is not hyped and easily tuned just by mic placement with minimal if any eqing needed to get the right sound for the right drum for the right music, this is the best single mic you can buy. And relative to the D-6, it can easily get a D-6 sound, but then you would need a sub kick or other complementary micing to put back in all the sound the D-6 and others take out. I love this mic! I really do recommend it to pros and especially novices. Either way, once you have this mic, you will be able to use the more multi-purpose mics like the EV 320, the Heil’s and others for the other uses. So if you want a purpose made kick/bass/guitar mic that sounds incredible out of the box and can easily be tuned to any response for any drum or music, GO BUY ONE! Lucky me, I got ZZounds to price match one a few years ago and got it for a mere $134. I would pay full price in a heartbeat!

  51. Jim Asheman

    July 5th, 2014 at 11:10 am

    It puts the RE-421 in front of the bass drum. It turns up the gain. It is happy.

  52. Charlie

    November 22nd, 2015 at 12:21 am

    no beyerdynamic ???

    M88TG, M99, TGD50D, TGD70D would have been a great addition to this line up, great video though

    Also AKG D12VR

  53. Rooster

    March 12th, 2016 at 7:27 pm

    I see you ppl as a very organized bunch – and yet you do NOT describe the beater being used for this demo? Is it felt, wood, plastic, etc….?

Leave a comment