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would anyone like to elaborate on their experiences with Low End Dynamic Mics?

First, I am not a professional engineer, so take this for what it is. In my experience, the D112 doesn't sound so great on its own, but can compliment the sound of another mic when used together on a source.


I've had acceptable results with the following combination on bass drum:

Place D112 close to the batter head, about halfway in from the shell, pointed in towards the beater. Then place a large diaphragm condenser out in front of the drum to fill out the sound, observing phase, etc. I've also experimented with using the Earthworks kickpad on the D112 in such a setup with positive results.


Another thing to try, this time electric guitar:

If you are recording an open/semi-open back amp, place a mic in front as usual. Then place the D112 in back of the amp, mirroring the front mic, observing phase, etc. This can give a "thicker"/"fuller" sound that may (or may not) be useful to you.


Same goes for the 57. It can work fine in a 2 mic kind of situation, with the 57 being the close and some kind of large diaphragm condenser or ribbon mic being the more distant.


Or you could sink that money for multiple mics into one or two nice and flexible mics like a R-121 or some such. That's what I wish I had done.

I don't like the D112 in a studio setting at all. Maybe O.K. for sound reinforcement work...

A good D12 (i.e. not beat to shit) in front of a well tuned drum through an API 312 is a joy to work with. If you can't find a D12, the Beyer M380 is cool too. It's figure 8 so you'll get some room with it, but cool nonetheless.

For cheap mics, I like me the Audio Technica ATM25 (which apparently is now out of production), or the Audix D6.

I'm too lazy to put multiple mics on a kick. If I can't get a good sound with one of the above microphones, it's my own damn fault...

anybody try the heil mics yet? alan moulder and flood are endorsing them now. they apparently used them on the last killers album.

Apparently Tool has integrated Heil mics into their setup. I don't have any details about it, though.

Anyone know where I can get a d-12 repaired in Chicago? It passes signal but if the source is even moderately loud it does this fuzzy distorting thing.

djimbe wrote:I don't like the D112 in a studio setting at all. Maybe O.K. for sound reinforcement work...

For cheap mics, I like me the Audio Technica ATM25 (which apparently is now out of production), or the Audix D6.

I have an Audix D6 and a D112. I noticed the Audix D6 is the MOST hyped sounding bass drum mic I have ever used (for more look at their frequency response curve, its a great big smile). Metal dudes love it, it makes their kick drum sound like a creepy machine. However when I work with people who want their drums to sound like drums I utilize the D112.

or a LD condenser...

try a large diaphragm(sp?) condenser on the kick..

uniquebassplayer wrote:Anyone know where I can get a d-12 repaired in Chicago? It passes signal but if the source is even moderately loud it does this fuzzy distorting thing.

I have heard that before, and it cold be a mechanical problem, it's hard to explain it online (plus, it's been a while since I've seen it), but if you look inside your mic you may be able to figure it out and maybe do something about it yourself. It has something to do with the structure that holds the capsule to the body of the mic, if it's the same problem I had.

The Shure Beta 52 is pretty decent for a low frequency dynamic. I like it lots on kick drum. I think it's a bit cheaper than a D112 also.

I have one and I'm not thinking of replacing it anytime soon. Just sayin'...