Even if you only have one single mic on the kick drum, you can just duplicate the track and apply the inside / outside EQ and compression settings to the two duplicate tracks. To avoid an avalanche of parentheses, I've listed all of them in separate boxes throughout this article, together with a handful of their most relevant credits for reference. The Beta52 is what I would call a "junk-food" kick mic. Steve Churchyard and Steve Marcantonio are pretty much on the same page again with "just outside" and "four to 10 inches away from the hole" respectively, whereas Robbie Adams went out to about 18 inches for U2's Zooropa. Alan Winstanley had a trick for doing this by using a highly directional rifle mic, "positioned high and pointing down on the kit as an extra room mic, trying to pinpoint the snare more than the other stuff." As an aside, I will tell you that my favorite kick mic, that I will use 10 times over the RE-20 is my original AKG D12. ._2cHgYGbfV9EZMSThqLt2tx{margin-bottom:16px;border-radius:4px}._3Q7WCNdCi77r0_CKPoDSFY{width:75%;height:24px}._2wgLWvNKnhoJX3DUVT_3F-,._3Q7WCNdCi77r0_CKPoDSFY{background:var(--newCommunityTheme-field);background-size:200%;margin-bottom:16px;border-radius:4px}._2wgLWvNKnhoJX3DUVT_3F-{width:100%;height:46px} It's accuracy in the midrange is something you won't get with a b52, but it needs some supplemental oomph. For example, Joe Barresi shares his preferences for Neumann's dual-small-diaphragm KM86 and AKG's dual-large-diaphragm C414B ULS with Chris Thomas and Gil Norton respectively. In addition to the interviews I've referred to in this article, the book also features such greats as Glen Ballard, Arif Mardin, Brian Wilson, Phil Ramone, Mitchell Froom and George Martin, and one of the strengths of Massey's approach is that he often asks them similar questions, which makes for interesting comparisons. If possible, use a mic specifically for kick drum — try an AKG D112, a Shure Beta52, or a mic that has a frequency response which favors bass tones, such as an Electro-Voice RE20, or a Sennheiser MD421. The usual overheads and snare close mic were recorded alongside. So typically I'll [invert the polarity] and usually all the sounds kind of come forward. Nirvana: Nevermind; Smashing Pumpkins: Siamese Dream, Gish; Garbage: Garbage, Version 2.0, Beautifulgarbage, Bleed Like Me; Sonic Youth: Experimental Jet Set Trash & No Star, Dirty. Ambience mics are often used by producers to bolster the sound of both snare and kick close-mics, so we recorded some extra ambience mics for the 'Amb' files, to let you experiment with the possibilities they afford. But if you use a 'scooped' mic you can't really get that sound. Badly Drawn Boy: The Hour Of Bewilderbeast; Coldplay: Parachutes, Rush Of Blood To The Head, X&Y; Paolo Nutini: These Streets; King Of Convenience: Quiet Is The New Loud; Gomez: Liquid Skin, Bring It On. To mix and match all these files, though, you'll have to import the examples into your MIDI + Audio sequencer and line them up so that they all start at exactly the same time. Both models are technically identical, but the D25 is built into a rather groovy-looking elasticated shockmount. For the recordings, we also covered the whole assembly with blankets to damp the drum shells and further reduce spill.In addition to this 'blanket tunnel', I also set up a different tunnel technique which Butch Vig described when talking about recording Nirvana's influential album Nevermind. In the middle is the Electrovoice RE20, above it is the Neumann U47 FET, and below it the AKG D12. Lots of resonance? Important as it is to get the sound right at source, the main focus of this article is on how to translate that sound into recorded form. On a practical note, though, I found it took a little while to find a position for this mic where the snare level rose above the cymbal spill, so if you do decide to give it a go, make sure to work with the placement for the best results. Here you can see the recording setup for the 'KickHeadOffMid' audio files, demonstrating the sounds of different mics and mic positions inside the kick drum. Rascal Flatts: Still Feels Good; Faith Hill: Fireflies; Keith Urban: Keith Urban; Brooks & Dunn: Hillbilly Deluxe; Kenny Chesney: The Road & The Radio; Tim McGraw: Not A Moment Too Soon; George Strait: Carrying Your Love With Me, Lead On. Taking the resonant head off completely makes these internal resonant modes a little less severe, but it also lets in more spill and gives a different character to the sound. Nevertheless, a few others are worthy of mention given that different producers independently agree on their merits. Even if you don't play drums yourself, it makes sense to discuss the sound with the drummer, encouraging him or her to make any adjustments that might improve the sound. (This same multi-D112 rig was used for all the other 'KickHeadOn' and 'KickHeadOff' files as well.) 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