Page 23 - Drum Tyme Advertising Book February 15th Updated to Slide Version June 17th 2020

* One boundary mic lying inside the kick

Placing a boundary mic on a pillow inside the kick
is the simplest option if you have a hole in the
resonant head. It keeps the bleed from other
drums and cymbals to a minimum and will give
you lots of impact. Some people like to drop a
Shure Beta 91A or Beyerdynamic TG D71c
condenser mic in the hole, laying it right on the
pillow at the bottom of the kick. That gives lots of
low end, and it’s a great no-fuss solution because There are lots of mics that work well inside the kick. In
you don’t have to mess with a mic stand. addition to the perennial favorite mics listed above are the
Audix D6, E-V ND68, Telefunken M82, and Sennheiser MD
* One stand mic inside the kick 421 II. Using any of these mics on a small boom stand will
allow lots of flexibility in positioning. As you move the mic
closer to the batter head and closer to the center of the
drum, you’ll get lots of attack
(click) but not as much low end. Moving off-axis from the
center of the drum will yield a more balanced sound (low
end to top end), and moving away from the head will
change the sound even more. I typically position the mic
off center on the drum head (at about 1/3 of the drum’s
diameter) and about halfway back in the depth of the shell.

* Two mics inside

Using a boundary mic lying inside the drum for the low end, combined with another stand-mounted mic for the attack,
gives a lot of flexibility when crafting an awesome sounding kick. Boundary mics like those mentioned above resting
inside the kick with a mic on a stand positioned near the beater will yield excellent results. Dynamic mics like the
Sennheiser 421 or Shure SM58 will work well for capturing the attack.

* One mic inside and one mic outside

You can get great results by using an inside kick mic combined with a mic outside the kick. I love the low end that comes
out of a Royer R121 positioned outside the kick about halfway up the head, just a few inches off the head, angled at 45
degrees to the plane of the head. Mix the two mics together to taste to get a sound as big or as pointy as you like.

NOTE: If using a ribbon mic on kick drum, stay away from the hole where there’s a huge rush of air forced out when the
drum is played.

NOTE: For the outside mic you can alternately use the DW The Moon Mic in front of the kick as a low-frequency pickup
source too.

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