They are all so different. Probably each can be useful for a certain musical direction. My favourites are the EV RE20 nd the Sennheiser 602II. The Shure 52a sounds a bit Bonhamish.
I see that pretty much the same way as you. To be honest I was pretty disappointed with the Beta 52, cause that is the Sound of the Mic not of the Bassdrum. So I modded it: ruclips.net/video/xTsmtLCrdZc/видео.html Liebe Grüsse Benno
Thank you for answering the important questions 🙌 I love these type of videos -- I personally heavily process my sounds w EQ / plug-ins in Ableton and would probably never spend premium $ for a mic that basically just has a built-in low-pass filter -- that being said, a club owner mic'd my cajon w a kick mic once and it sounded fantastic -- so in a live setting, with limited access to EQ (we were going straight into the mixer that had a basic 3-band EQ at best), I could see why you would want to have a particular microphone w you -- cheers from Seattle ✊
Well that was no nonsense! lol Most of these mics I would use as kick in with a ribbon out for some depth. Great comparison of exactly what they pick up compared to each other. I have a D112 and a Shure Beta. D112 captures a bit more snap when I want it but both great mics! Thanks for the video!
For me it is bit too much. In a happy coincident (had not enough channels) I combined the E602 with the D112 with a simple Y-cable and that combination does the trick for me! Liebe Grüsse Benno Kaiser
@@bennokaiser698 Interesting...I'm new to this stuff so I'm trying to learn why my kick sounds different than others. Such a noob thought right. And with already taking up 5 mics for the drums, a Y-splitter sounds genius. On the EQ side of things, the puffiness sound of the 602 is what i was shooting for and I haven't been able to get to it, so then I saw your video; maybe it's the mic (aha moment)
Great comparison, personally it comfirms my choice the D112 that I'm using the most, the e602 I have outlisted as it is to EQed for. The RE 20 and even the the SM7B are nice too, very natural like my vintage MD421. The Beta 52a here sounds really unlikely. Grüße aus Münster !
The Beta 52 works very well at achieving a very "flat" and natural sound, the E602 on the other hand is designed to deliver a scooped, more modern sound - it's good to have a selection of mics to use for different purposes and goals
THANK YOU! you just saved me a LOT of money and TIME! I guess I'm a new fan of either the Beta 52 or the E602II.... and the latter gets my vote! ..... that D112 is tight, but the EQ required for my needs is another thing...
Good choice! The Beta has a really nasty resonance in the housing, so I modified and sold it: ruclips.net/video/xTsmtLCrdZc/видео.html. The e602II is a great mic for set and forget. Liebe Grüsse Benno Kaiser
Since I only have one EV Re20, and I like to use it on different sources, I have to make this decision, I rather use it for saxophone. Niw I purchased a second hand Kickpad of Earthworks. Build in a plug, pre-eq. for every microphone thinkable. Now in live situation: plug in Kickpad between mike and xlr-lead.. instant good workable and eq-able kicksound. Timesaving ! Love that. Sounds so good in the mix of all other sources.go check it out🥰
Each on sounded quite different from on another and placement probably had a bit to do with it too. The D112 sounded the most kick-in sounding for being a kick-out in this demo. As a kick-out mic -- I preferred the RE20 overall.
Your right, for kick-in there is just not enough space to place them all for the same take. All microphones are the same distance from the edge of the drum, the only different being how close is the soundhole. Don't forget the Beta 52 and the e602 have a filter built in. Liebe Grüsse Benno
A little over the top, first of all the placement is so different it makes some of the mics react in strange way. To be totally fair it would have to be place exactly at the same spot, dead center perhaps, although it may not be the best spot. Anyway it give an idea, 421 is a great mic but not in this video 😞
All Miks have the same distance to the hoop, so they listen more or less to the same sound. The distance to the hole is different, I give you that. I have 4 MD421 (selected out of around 30 over the years), they all have great lowend, but for me, on the bassdrum, they always sound boxy and with no real sub-information.
I've been experimenting with kick mics a lot lately. As a drummer who is recording more and more, I'm finding that I have a unique disdain for the typical "kick mic halfway inside the drum pointed at the beater" method. I'm trying to see if I can't mic the batter side and maybe just the reso head -The batter mic gives you that immediacy that you hear when playing the drum... Have got a D112 and SM7B and a few very high quality LDC's...
My personal favorite is to use the D112 in the center and the e602 in front of the hole pointing at the beater. These two mics with a Y-cable as one signal into the DAW. So the really aggressive filter of the e602 influences both mics. Liebe Grüsse Benno
@@bennokaiser698 Is the D112 on the inside or the outside? Reso side like featured in the video, or batterside? You put the 602 just inside the port hole?
funny you ask: the D112 in the center and the e602 in the hole, these two signals via a Y-cable combined, that's my holy grail. Not shure if anybody else is using this hack? Liebe Grüsse Benno
@@bennokaiser698 hey Benno. if I understand correctly, you are combining signals from two microphones using a passive summing Y cable (like stereo to mono summing cable, with resistors between two signals to join them) and then recording them in one channel in the mixer? but why? what is the benefit of your technique in comparison with recording each signal separately and mixing their signals properly using the mixer or in DAW in comparison to inferior comb filter sounding, passive summing technique?
@@luxlibris179I tried your method but it will never sound the same. The reason for that lies in the passiv filter in the Sennheiser e602, which it has to share with the d112 and you only need one channel. The Y-cable is with no resistors.
The hole is for tone, it was never meant to have a mic shoved in it. Although kick-in positioning can sound "cool" it fails (in my experience) to represent the sound of the drum itself.
@@InsaneCarville Agreed. Always add another mic if you go with one in. Ribbons are my choice because I'm not rich lol. Even cheap ribbons will bring the warmth back in.
@@bennokaiser698 Record a good song with the kick drum recorded on individual tracks. One track for each of your mics, Then eq each kick drum track to get the best possible tone and attack to complement the bass line. You end up splitting hairs. 8 possible mics for bass guitar and 8 for kick drum just drive yourself crazy.
They are all so different. Probably each can be useful for a certain musical direction. My favourites are the EV RE20 nd the Sennheiser 602II. The Shure 52a sounds a bit Bonhamish.
I see that pretty much the same way as you. To be honest I was pretty disappointed with the Beta 52, cause that is the Sound of the Mic not of the Bassdrum. So I modded it: ruclips.net/video/xTsmtLCrdZc/видео.html
Liebe Grüsse
Benno
602II had almost no snare bleed what is useful. EV sounded great yea.
Audix D6
Sennheiser 421
Beyer M88
AKG D12E
Shure Beta 91A
Great simple comparison, thanks!
Thanks a lot. Liebe Grüsse Benno
Thank you for answering the important questions 🙌 I love these type of videos -- I personally heavily process my sounds w EQ / plug-ins in Ableton and would probably never spend premium $ for a mic that basically just has a built-in low-pass filter -- that being said, a club owner mic'd my cajon w a kick mic once and it sounded fantastic -- so in a live setting, with limited access to EQ (we were going straight into the mixer that had a basic 3-band EQ at best), I could see why you would want to have a particular microphone w you -- cheers from Seattle ✊
Any time! Even if you have access to all the EQ's in the world, 'fix it in the mix' brings rarely a better result. Liebe Grüsse from Switzerland
Benno
Well that was no nonsense! lol Most of these mics I would use as kick in with a ribbon out for some depth. Great comparison of exactly what they pick up compared to each other. I have a D112 and a Shure Beta. D112 captures a bit more snap when I want it but both great mics! Thanks for the video!
You are very welcome.
The e602 is a fantastic mic, I use it all the time
For me it is bit too much. In a happy coincident (had not enough channels) I combined the E602 with the D112 with a simple Y-cable and that combination does the trick for me! Liebe Grüsse
Benno Kaiser
@@bennokaiser698 Interesting...I'm new to this stuff so I'm trying to learn why my kick sounds different than others. Such a noob thought right. And with already taking up 5 mics for the drums, a Y-splitter sounds genius. On the EQ side of things, the puffiness sound of the 602 is what i was shooting for and I haven't been able to get to it, so then I saw your video; maybe it's the mic (aha moment)
I've used a sm7b on kick, and it's full. But now i know, i need to get a D112 and without a doubt the d60211 because that was my favorite by far.
I use a D112 and a e602II in parallel (y-cable), so the filter in the e602 influence both mics. I love it! Liebe Grüsse Benno
Great comparison, personally it comfirms my choice the D112 that I'm using the most, the e602 I have outlisted as it is to EQed for. The RE 20 and even the the SM7B are nice too, very natural like my vintage MD421. The Beta 52a here sounds really unlikely. Grüße aus Münster !
I agree with everything you said! The Beta is already gone. Liebe Grüsse vom südlichen Nachbarn
Benno
The Beta 52 works very well at achieving a very "flat" and natural sound, the E602 on the other hand is designed to deliver a scooped, more modern sound - it's good to have a selection of mics to use for different purposes and goals
exactly my point of view. Liebe Grüsse Benno
THANK YOU! you just saved me a LOT of money and TIME!
I guess I'm a new fan of either the Beta 52 or the E602II.... and the latter gets my vote! ..... that D112 is tight, but the EQ required for my needs is another thing...
Good choice! The Beta has a really nasty resonance in the housing, so I modified and sold it:
ruclips.net/video/xTsmtLCrdZc/видео.html.
The e602II is a great mic for set and forget. Liebe Grüsse
Benno Kaiser
Since I only have one EV Re20, and I like to use it on different sources, I have to make this decision, I rather use it for saxophone. Niw I purchased a second hand Kickpad of Earthworks. Build in a plug, pre-eq. for every microphone thinkable.
Now in live situation: plug in Kickpad between mike and xlr-lead.. instant good workable and eq-able kicksound. Timesaving ! Love that. Sounds so good in the mix of all other sources.go check it out🥰
thanks for the tip, didn't know about the earthworks kick pad, nice!
Liebe Grüsse
Benno
AKG D112
Each on sounded quite different from on another and placement probably had a bit to do with it too. The D112 sounded the most kick-in sounding for being a kick-out in this demo. As a kick-out mic -- I preferred the RE20 overall.
Your right, for kick-in there is just not enough space to place them all for the same take. All microphones are the same distance from the edge of the drum, the only different being how close is the soundhole.
Don't forget the Beta 52 and the e602 have a filter built in.
Liebe Grüsse
Benno
A little over the top, first of all the placement is so different it makes some of the mics react in strange way. To be totally fair it would have to be place exactly at the same spot, dead center perhaps, although it may not be the best spot. Anyway it give an idea, 421 is a great mic but not in this video 😞
All Miks have the same distance to the hoop, so they listen more or less to the same sound. The distance to the hole is different, I give you that.
I have 4 MD421 (selected out of around 30 over the years), they all have great lowend, but for me, on the bassdrum, they always sound boxy and with no real sub-information.
I've been experimenting with kick mics a lot lately. As a drummer who is recording more and more, I'm finding that I have a unique disdain for the typical "kick mic halfway inside the drum pointed at the beater" method. I'm trying to see if I can't mic the batter side and maybe just the reso head -The batter mic gives you that immediacy that you hear when playing the drum... Have got a D112 and SM7B and a few very high quality LDC's...
My personal favorite is to use the D112 in the center and the e602 in front of the hole pointing at the beater. These two mics with a Y-cable as one signal into the DAW. So the really aggressive filter of the e602 influences both mics. Liebe Grüsse
Benno
@@bennokaiser698 Is the D112 on the inside or the outside? Reso side like featured in the video, or batterside? You put the 602 just inside the port hole?
@@boobo3763 both are on the outside (resohead) ruffly in the same plane.
@@bennokaiser698 Very interesting! Thank you for sharing! I will experiment this afternoon...
@@boobo3763 good hunting!
RE-20 is the most even and natural sounding. If I want more hype or click I switch to the D-112. If I want more of a woody sound I go with the MD-421.
I totally agree!
Nice!
Thank you
No Audix D6?
nop, don't have a one, sorry.
Need a beta 91
Sorry, I hate them: just attack no real low end.
Which one did u settle on
funny you ask: the D112 in the center and the e602 in the hole, these two signals via a Y-cable combined, that's my holy grail. Not shure if anybody else is using this hack? Liebe Grüsse
Benno
@@bennokaiser698 hey Benno. if I understand correctly, you are combining signals from two microphones using a passive summing Y cable (like stereo to mono summing cable, with resistors between two signals to join them) and then recording them in one channel in the mixer?
but why? what is the benefit of your technique in comparison with recording each signal separately and mixing their signals properly using the mixer or in DAW in comparison to inferior comb filter sounding, passive summing technique?
@@luxlibris179I tried your method but it will never sound the same. The reason for that lies in the passiv filter in the Sennheiser e602, which it has to share with the d112 and you only need one channel. The Y-cable is with no resistors.
I use a MD421...
I own 4 MD421, love them on Toms, don't work for me on BD. Liebe Grüsse
Benno
RE20 wins hands down.
it is the most honest of the bunch, for shure. Liebe Grüsse
Excellent but there is a hole in the bass drum head. Shame!
Well, that you have to endure!
The hole is for tone, it was never meant to have a mic shoved in it. Although kick-in positioning can sound "cool" it fails (in my experience) to represent the sound of the drum itself.
@@InsaneCarville Agreed. Always add another mic if you go with one in. Ribbons are my choice because I'm not rich lol. Even cheap ribbons will bring the warmth back in.
Pointless effort.
Für dich offensichtlich schon, für mich als Berufs-Musiker nicht wirklich!
Liebe Grüsse aus Aarau
Benno
@@bennokaiser698 Record a good song with the kick drum recorded on individual tracks. One track for each of your mics, Then eq each kick drum track to get the best possible tone and attack to complement the bass line. You end up splitting hairs. 8 possible mics for bass guitar and 8 for kick drum just drive yourself crazy.
@@swisscottagecleanairaction Let's fix it in the mix! Go ahead, I won't stop you.