- What are the best kick drum mics available today?
- How can you mount a kickdrum mic?
- What is the best way to position a kickdrum mic?
- Also, check our rundown of the best tom mics
Micing up a drumkit can be relatively complex. This is due to the number of variables related to orchestrating such a task. Phase, frequency range, the room, and even microphone placement are all factors that will coagulate and determine the quality of your result.
The kick drum harbors the lowest frequency range of the entire drum kit, presenting its challenges and characteristics. Working in unison with the floor tom, it provides the low-end thump that works in combination with whatever bass instrument is in your ensemble to provide the foundation for any other instrumentation.
Considering this, it is easy to comprehend that selecting the right microphone to track the kick in a recording scenario is particularly important.
I have compiled a list of the 10 Best Kick Drum Mics available today. This means you can spend more time producing and less time perusing internet forums to figure out what purchase is best for you.
What Are The Best Kick Drum Mics?
The Audix D6 is my pick for the overall best kick drum microphone. I loved its defined and well-rounded sound, not to mention its highly accessible price point. The best premium pick goes to the Sontronics DM-1B for its stellar build quality and prestige sound.
Finally, the Sennheiser e 602 rounds out my list as the best value kick drum mic, providing a reliable utilitarian microphone for the studio and live use without breaking the bank.
Here is my roundup of the best kick drum microphones available today.
- Audix D6 (Our Pick)
- Shure Beta 52A
- AKG Pro Audio D112 MKII
- Sontronics DM-1B (Best Premium)
- Sennheiser e 602 (Best Budget)
- Shure PGA52
- Audio Technica ATM250
- Electro-Voice PL33
- Sennheiser e 901
- CAD D88
1. Audix D6
Overview
Despite being a relatively young company, Audix has left a mark on the microphone industry during its three decades of operation. The D6 is no exception to this rule, providing a quality sound that boasts versatility and durability.
Features
- 30hz-15khz frequency response
- Cardioid polar pattern
- Machined alloy chassis
- Dynamic Transducer type
- Max SPL of 144dB
Review
The Audix D6 left an impression on me from the start. The microphone feels lightweight in the hand, but by no means does it feel cheap or fragile. The machined aluminum chassis is finished in black, exuding an essence of both quality and ruggedness. I would have no qualms about using this microphone in a live scenario and the studio.
Aesthetics aside, I tested the Audix D6 on various kick drums and was always pleased with the results. The transient response of this mic left nothing to be desired, and I found it always managed to provide a crisp and clear attack with an adequate bottom end, regardless of the size of the bass drum or its positioning.
2. Shure Beta 52A
Overview
The first offering from Shure to make the list, the Beta 52A, is somewhat of an industry standard. It has secured this reputation for a reason, but a microphone shootout would be incomplete without its inclusion.
Features
- 20hz-10khz frequency response
- Supercardioid polar pattern
- Inbuilt adapter
- Dynamic Transducer type
- Max SPL of 174dB
Review
The Shure Beta 52A encompasses the same level of quality that I have come to expect after owning other microphones from the Beta line, such as the Beta 57. Microphones of this lineage are essentially indestructible, with the wire mesh proving both durable and aesthetically pleasing.
The super-cardioid polar pattern enabled me to crank the gain levels using this microphone. I’m happy to report minimal distortion and no unruly feedback. Overall, the Shure Beta 52A exemplifies why Shure is an industry leader at a price point that is obtainable for engineers and producers of all levels.
3. AKG Pro Audio D112 MKII
Overview
Replacing the original D112, the AKG D112 MKII offers a reenvisioning of an industry classic. An old cliche states, “If it ain’t broke, don’t fix it”. However, this mic upholds its legacy and is ready to serve a new generation of engineers.
Features
- 20hz-17khz frequency response
- Cardioid Polar Pattern
- Bass resonance volume chamber
- Dynamic Transducer type
- Max SPL of 160dB
Review
Upon examining the AKG D112 MKII, I couldn’t help but feel struck with a sense of familiarity, which is to be expected given its lineage within the microphone world.
All of the features of the MKI are present with some subtle changes that don’t deviate from the formula drastically. The AKG D112 MKII encompasses a Bass Resonance Chamber design that effectively and efficiently emphasizes the low end of any source recording.
All the hallmarks of its predecessor’s build quality are apparent. No compromises have been made while bringing this design into the current decade. Overall, I felt that the AKG D112 MKII is still well worth its price tag and will undoubtedly maintain its stature as a staple for live and studio applications.
4. Sontronics DM-1B
Overview
The first condenser microphone to appear on our list of the Best Kick Drum Microphones is the Sontronics DM-1B. This mic demands a premium price, but as with most things, you certainly get what you pay for.
Features
- 20hz-20khz frequency response
- Cardioid Polar Pattern
- LDC requires Phantom Power
- Condenser Transducer type
- Max SPL of 155dB
Review
The Sontronics DM-1B exudes quality with its brushed aluminum case and chassis. It rounds out this list as the most expensive microphone. I noticed that the Sontronics DM-1B Condenser microphone encompasses a somewhat more articulate high-end than the other mics on this list. This would be due entirely to its transducer type.
Admittedly, this element might sound irrelevant when talking about kick drum microphones. Still, it imparted an accentuated attack on my source recordings that I found quite pleasing to the ear. I found that the Sontronics DM-1B required considerably less post EQ to achieve the sounds I desired than the other microphones on our list.
5. Sennheiser e 602 II
Overview
Sennheiser, another industry goliath, stands tall, providing my favorite budget pick in the e 602 II. A dynamic microphone that packs stellar value for money into a package accessible to engineers and producers of all budgets and skill levels.
Features
- 20hz-16khz frequency response
- Cardioid polar pattern
- Dynamic Transducer type
- Extended bass response
- Max SPL of 155dB and above
Review
The first of two Sennheiser microphones featured on this list, the e 602 II quickly won me over as the best pick for any engineer on a budget. It features a rugged construction that is certain to endure the rigors of both live and studio use while sporting a nonchalant black aesthetic, pleasing to the eye.
In use, I had no qualms with how the Sennheiser e 602 II performed. After testing it on various bass drums, I took the time to place it upon a bass cabinet, to which it delivered an admirable recording. I felt that Sennheisers goal with this microphone was to deliver a smaller and more lightweight version of the original e 602, and they have definitely succeeded in this pursuit.
6. Shure PGA52
Overview
The second offering from Shure is a lower-priced alternative to the Beta 52A I detailed earlier in this comparison. Don’t let its lower price point sway you, though, as this microphone packs a punch all with the Shure seal of quality that we all know and love.
Features
- Frequnecy response 50hz-12khz
- Cardioid polar pattern
- Dynamic transducer type
- Weighs 454g
- Adjustable Clip
Review
The Shure PGA52 is a utility microphone that delivers on all it promises without providing you with unnecessary bells and whistles.
I immediately noticed the high-end attack this microphone accentuated when placed close to the impact point of the pedal beater within the kick drum. This is a highly desirable attribute for rock and metal productions, of which this microphone would most likely excel in.
However, this isn’t to say that the Shure PGA52 skimps out on the low end, as I found it to be an excellent microphone for use with a smaller jazz-style bass drum once placed correctly for the task at hand.
The Shure PGA52 is a safe pick for anybody seeking out a kick drum mic that exudes quality yet won’t break the bank.
7. Audio Technica ATM250
Overview
Tailored to endure the rigors of high SPLs, the Audio Technica ATM250 is a viable option for those who want a dynamic microphone with a hypercardioid polar pattern. This microphone features heavy-duty construction and excellent off-axis rejection.
Features
- Frequency Response 40hz-15khz
- Hypercardioid polar pattern
- Dynamic transducer type
- Weighs 252g
- Includes isolation clamp
Review
The Audio Technica ATM250 prides itself on its ability to withstand high SPLs without incurring distortion artifacts. In my testing, I found these claims to be accurate.
However, like Shure, the Audio Technica website doesn’t list a max SPL rating for me to include in my write-up. I also did not conduct any scientific tests to determine such a figure, so you will have to take my word for it.
I also noticed that the Audio Technica ATM250 encompasses excellent off-axis rejection, attributed to its hypercardioid polar pattern. This made working with this microphone a pleasure and aided me in finding an adequate placement for it quickly.
The last thing I noted about the Audio Technica ATM250 is its build quality, which is of fantastic quality. This microphone will stand the rigors of live use and remain within your mic array for many years after purchasing it.
8. Electro-Voice PL33
Overview
Voiced specifically for use with kick drums, the Electro-Voice PL33 is tailored to deliver a transient and frequency response that entails a lighter touch during the post-EQ and processing stages of production. This makes life much easier for both the engineer and the client.
Features
- Frequency Response 20hz-10khz
- Supercardioid polar pattern
- Dynamic Transducer type
- Powerful Neodymium magnet
- Zinc diecast chassis
Review
A fantastic choice for the studio or stage, I found the Electro-Voice PL33 to accentuate a delightful punch and snap to the sound source. These comprised several different-sized kick drums that had recently occupied the studio space.
Firmly approving of the PL33 sound, the next thing to assess is the build quality, which left no stone unturned in ensuring that it felt sturdy both in hand and when mounted to a microphone stand.
Electro-Voice claims that this microphone is voiced to give a balanced kick drum sound that should require little to no EQ when put to use. This is a very bold claim indeed. However, I found that this mic did require less post-processing than others in the shootout.
Perhaps the Electro-Voice PL33 could be considered the dynamic equivalent of a microphone like the Sontronics DM-1B. Despite having a sonic signature that I consider incomparable, both manufacturers make similar claims about each mic, and I feel both deliver “at least to some degree”.
9. Sennheiser e 901
Overview
This shootout would not be complete without including a boundary microphone, so I decided on the Sennheiser e 901. This microphone is a popular choice among both hobbyists and professionals, and I feel it represents this market segment quite well.
Features
- Frequency response 20hz-20khz
- Half Cardioid polar pattern
- Plate condenser transducer type
- Max SPL 154dB
- Integrated preamp
Review
The Sennheiser e 901 is a rugged and ready boundary mic designed to endure high SPL levels, making it a fantastic choice for use within a kick drum. I tested this unit by placing it directly in the sound port of my Mapex Saturn 18” kick and quickly took notice of the precise and dry tonal quality that this microphone printed on our source recording.
This makes it an excellent choice for both live and studio scenarios. I feel that it could also suffice as a boundary room mic or even be used in conjunction with a second dynamic to give a kick-in and out configuration, providing more options during mixdown.
Another factor that can be appreciated when employing a boundary mic is how easy they are to place. Simply drop it inside the drum, and the job is done, ready for another take!
10. CAD D88
Overview
The CAD website specifies that this microphone is an excellent choice for extreme music styles. This insinuates that this dynamic possesses a good transient response and adequate high-end attack. Ensuring that the CAD D88 will cut through even the thickest walls of down-tuned guitars and sub-bass frequencies.
Features
- Frequency response 20hz-17khz
- Supercardioid Polar Pattern
- Dynamic Transducer type
- Max SPL 150dB
- Equipped with one of the largest capsules for a percussion microphone
Review
The CAD D88 is a new introduction to the line of CADLIVE microphones, offering a muscular low-end punch to any mic array at a reasonable price that won’t damage your wallet. Considering its lower price point, I found this microphone to punch well above its weight. The manufacturer mentions that the CAD D88 is well suited for heavier hard rock and metal drumming styles, and upon testing the microphone, I can concur with this notion.
Despite being a part of the aforementioned CADLIVE line, the CAD D88 is a worthy addition to any studio mic array. It harnesses a neodymium magnet and oversized capsule, which provides an overall higher output level.
This makes the CAD D88 well-suited to the larger-than-life kick sounds demanded by many modern production styles.
FAQ
How Can I Mount a Kickdrum Mic?
There are a variety of ways in which one can go about mounting a kickdrum microphone. More often than not, the appropriate method will be dictated by the microphone’s design.
Many of the microphones included in this list of The Best Kick Drum Mics feature inbuilt clips built into the microphone’s chassis. These will usually be adjustable via a hinge clip, enabling the user to screw the mic to the attachment thread of any microphone stand.
Other microphones will take a more traditional approach and feature a base that clicks into a microphone clip. Similar to how you would mount a traditional dynamic microphone such as a Shure sm58<span style=”font-weight: 400;”>.
Lastly, boundary microphones do not need any stand or mounting clip to mic a kick drum. Simply placing the transducer inside the drum is adequate for this type of microphone.
How To Place a Kick Drum Microphone
The right way to place a kick drum is subjective and will be determined by what you are trying to achieve sonically within your studio or on-stage productions.
Placing a microphone closer to the kickdrum beater will provide more attack. On the contrary, placing the microphone further away from the beater will result in a boomier and bassier tonality.
It is common practice for recording engineers to utilize two microphones while recording a kick drum. Essentially, one microphone will be placed inside the drum to provide the attack, while an “out” microphone will provide the low end required for a satisfactory kick sound.
Laying It Down
That concludes my shoot-out of The Best Kick Drum Mics. Hopefully, this list has given you insight into what microphones best suit your studio and workflow. Perhaps it has even given you some new ideas to test the next time you are recording drums.
