Whether you're a newbie audio engineer or a seasoned pro, mic'ing a kick drum is crucial to achieving the perfect drum sound in your mix. However, the task can be intimidating and the process confusing. Do you use a close or distance mic setup? Which microphone should you opt for? How does the drum diameter affect the sound? To demystify this process, let's dive deep into the world of kick drum mic'ing and uncover the secrets to capturing the best sound.

Close vs. Distance Mic'ing: What's the Difference?

The microphone placement around a kick drum can fundamentally change the resulting sound. The two broad categories are close and distance mic'ing, each offering a unique sonic character and a different approach to capturing the drum's sound.

Close Mic'ing

In close mic'ing, as the name suggests, the microphone is positioned relative to the drum skin. This placement is typically inside the kick drum or up against the drum's front head. The benefit of close mic'ing is the capture of the immediate punch and attack of the kick drum. This direct capture results in a sound that has more defined lows and less ambient noise from the rest of the kit or room. However, it can sometimes lack the natural resonance and fullness of the drum.

Distance Mic'ing

Distance mic'ing involves placing the microphone further away from the drum, sometimes a few feet away. This method captures more of the drum's natural resonance and the room's acoustics, providing a more holistic sound. While it gives you a more 'complete' representation of the kick drum, the challenge here is the potential bleed from other instruments, especially in a live setting.

The choice between close and distance mic'ing depends on your mix's desired sound. A rock or metal mix may prefer the punchiness of close mic'ing, while a jazz or acoustic mix might lean towards the natural resonance of distance mic'ing.

Choosing the Right Microphone: Deep Dive into Dynamic and Condenser Mics

Choosing the right microphone to capture your kick drum's raw energy and complex tonal qualities is critical. The two main microphones used for this purpose are dynamic and condenser microphones.

Dynamic Microphones

Dynamic microphones are often the top choice for kick drums, and good reasons.

Durability: Known for their ruggedness, dynamic mics can withstand high sound pressure levels (SPL). Their robust build makes them perfect for live performances where the environment might be less controlled and potentially more chaotic.

Sound Characteristics: Dynamic mics excel in capturing the lower frequency range of the kick drum. This frequency range is where most of the drum's power resides. So, using a dynamic mic will ensure that you get a recording that emphasizes the punch and drive of the drum.

AKG D112 Closed Mic’ed to the front head of a kick drum

Renowned Models: Certain dynamic microphones, like the Shure Beta 52A or the AKG D112, have become industry standards. These mics have frequency responses tailored for kick drums, ensuring you get the best sound quality. Their ability to handle high SPLs and produce clear, robust low-end frequencies make them a staple in many studios and live sound setups. The Electrovoice RE20 is an honorable mention since this microphone appears on many records. As a cardioid dynamic, the microphone is renowned for its proximity effect, thus why it finds itself a standard in the broadcasting industry. Therefore, the closer to the source, the more bass tip-up (proximity effect) is present, allowing for a more controllable sound by just mic placement.

Condenser Microphones

While dynamic microphones are common, condenser microphones can be valuable for capturing kick drum sounds, especially in controlled studio environments.

Frequency Response and Sensitivity: Condenser microphones offer a broader frequency response and higher sensitivity than their dynamic counterparts. This sensitivity allows them to capture the subtle nuances of the kick drum's sound, including the beater's attack and the slight overtones that give the drum its character.

Power Requirements and Fragility: Despite their excellent sound capture abilities, condenser mics are generally more fragile and require phantom power. This requirement may limit their usability in certain scenarios, especially during live performances where power sources and careful handling aren't always guaranteed.

Neumann U87Ai in front of a kick drum. Photo courtesy of Holy Tube Studio

Renowned Models: Neumann U47 FET: This microphone is a modern reissue of the classic U47 FET from the 1970s. Known for its excellent transient response and strong low-frequency performance, the U47 FET has been a favorite for kick drums in many high-end studios. KG C414 XLS: The C414 XLS is a multi-pattern large-diaphragm condenser microphone that is versatile and works great on various sources, including kick drums. It captures a wide frequency range and has switchable polar patterns, making it ideal for various recording situations. Audio-Technica AT4047/SV: This microphone has a warm sonic character. It offers a high SPL capability, which makes it suitable for micing loud sources like kick drums. It also has a transformer-coupled output, which helps to provide a smooth low-frequency response. Shure KSM32: This microphone is known for its detailed sound capture. It's designed to handle high SPLs, making it suitable for close-mic'ing kick drums. It also has a built-in pop screen that can help reduce unwanted noise.

The Best of Both Worlds

One persuasive practice is using a dynamic and condenser microphone for the kick drum. This dual-mic approach enables you to capture a comprehensive sound profile.

With this setup, the dynamic microphone, placed closer to the drum, captures the kick's low-end punch and raw power. In contrast, the condenser mic, usually positioned slightly farther, picks up the beater's attack and overtones, providing a fuller picture of the drum's sonic identity. The result is a more rounded, rich sound that retains the kick drum's power while highlighting its subtle characteristics.

By understanding the strengths and weaknesses of dynamic and condenser microphones, you can select the best tools to capture the kick drum's power and subtlety, ensuring your recording is as vibrant and dynamic as the live sound.

The Influence of Drum Diameter

Understanding the influence of your kick drum's diameter on its sonic output is essential for tailoring the recording process to achieve your desired sound. The drum's size significantly determines its tonal characteristics and how it should be best mic'ed.

Larger Diameter Drums

Typically, larger diameter kick drums, ranging from 22 to 24 inches, are known to produce a deeper, more resonant tone.

Low-End Frequencies: These larger drums excel at delivering more low-end frequencies, generating a powerful, boomy sound that can drive a rhythm section.

Suitable Genres: Because of their ability to provide a big, full-bodied sound, larger drums are ideal for music styles that demand a robust, commanding kick, such as rock, jazz, or blues.

Mic'ing Technique: Distance mic'ing can often be beneficial when recording larger-diameter drums. Distance mic'ing allows the capture of the drum's natural resonance and full tonal range. This approach can help achieve a more 'live' and organic sound, typically preferred in genres like jazz or blues.

Smaller Diameter Drums

Smaller diameter kick drums, generally around 18 to 20 inches, have different sound characteristics.

Tightness and Attack: These drums produce a tighter, more focused sound characterized by enhanced punchiness and attack. The result is a fast, clear kick sound that cuts through the mix without overwhelming it.

Suitable Genres: Such drum sounds are particularly effective in genres where a swift, defined kick is needed. Funk, pop, and certain styles of electronic music often benefit from the energetic punch that smaller kick drums can deliver.

Mic'ing Technique: When it comes to mic'ing smaller diameter drums, close mic'ing is typically more effective. By placing the microphone close to or inside the drum, you can emphasize the drum's attack and punch, resulting in a sound that has more definition in the lows and less ambient noise.

Matching Drum Size to Mic'ing Techniques

Understanding the interaction between the drum's diameter and sound characteristics can help you make informed decisions about mic placement. But remember, these are guidelines, not hard and fast rules. The specific sound you're aiming for, the acoustics of the recording space, and the overall mix should all play a part in your final mic'ing decisions.

The art of mic'ing a kick drum lies in adapting and using these factors to your advantage. Experimenting with different drum sizes and mic placements will lead you to the sound that best complements your music.

Front Head On or Off: A Recording Decision

Whether to keep the front head on or off the kick drum during recording largely depends on the type of sound you're aiming for. Leaving the front head on produces a more resonant, natural tone with greater low-end and sustain. Jazz, blues, and other genres prefer a type of sound that requires a fuller, more tonally complex kick sound.

On the contrary, removing the front head yields a tighter, more controlled, punchy sound with less resonance, often desired in rock, pop, or funk music. This approach also allows for closer mic placement inside the drum, which can help to accentuate the beater's attack.

Remember, there's no definitive right or wrong here. It's all about achieving the sound that best fits the music you're recording. Experiment with both configurations and listen critically to decide which approach best suits your needs. Remember that regardless of the decision, careful microphone placement and the proper tuning of the drum are crucial factors in getting a great kick drum sound.

Ensuring Optimal Recording Levels

Setting the proper levels when recording your kick drum is essential to preserve the sound's quality and dynamics. Most audio VU meters have two levels within one meter: average and peak levels. The peak level is what volume the transient (initial hit of the note or the Attack of an ADSR envelope) registers. The peak is instantaneous and sometimes too quick to adjust the volume. Your VU meter usually shows a line, and then the level stays at the highest VU volume. Keeping an eye on peak levels is crucial because if the audio signal's level goes beyond the maximum point (0dBFS in digital systems), it will cause clipping, leading to distortion and potential damage to your audio equipment. Digital clipping, unlike analog clipping, is particularly harsh and generally undesirable.

The second level is the average level. Average levels of an audio signal provide a better representation of how loud the audio feels to our ears. This is because our ears respond more to the average levels (the 'body' of the sound) than quick transients.

VU meters are slower than peak meters and don't respond to quick transients. Instead, they give you a smoother representation of the level, similar to how our ears perceive loudness.

In essence, while peak meters help prevent digital clipping by showing you the maximum level reached by the audio, VU meters provide a more realistic representation of perceived loudness. Balancing the use of both types of metering is essential for achieving a well-recorded, dynamic, and distortion-free mix.

Generally, aim for an average level of -18dBFS (decibels full scale) on your digital meter, which is roughly the "0" mark on an analog VU meter. Most DAWs have a Red, Yellow, and Green scale on the digital VU meter. We typically aim to have the average level at the top of the green, with the peaks in the yellow. Nothing should be in the red. If it is in the red, lower the pre-amp volume. This level provides a good balance between capturing enough signal to stay above the noise floor and leaving enough headroom to accommodate louder hits without causing clipping or distortion.

In the context of the kick drum, this is particularly important as the dynamics can vary greatly, from subtle touches to aggressive hits. Remember the peaks; digital clipping can produce harsh, unwanted distortion. It's better to record at lower levels and safely increase the volume later during the mixing process rather than attempting to repair clipped audio. Remember, these are guidelines. Depending on the style of music, the specific sound you're after, and the overall mix, you might choose to record at slightly different levels. Always trust your ears and use meters as a visual aid, not an absolute determinant of your sound's quality.

Conclusion

Understanding the intricacies of mic'ing a kick drum is critical to achieving the perfect drum sound. Whether choosing between close and distance mic'ing, selecting the ideal microphone, or considering the drum's diameter, every decision shapes the final result.

Remember, these guidelines serve as a starting point. The key is experimenting with different setups and finding the best for your unique sound. Because, in the end, the perfect kick is the one that serves your mix and complements your artistic vision. Happy recording!

Achieving That Perfect Kick: A Comprehensive Guide on How to Mic and Record a Kick Drum