It’s quite likely that when you listen to your favorite track off your favorite album that the first thing you listen to is NOT the kick drum, yet it plays suck a vital role in most any track.  The kick drum is important, easily as important as its smaller buddy the snare drum, and warrants some serious attention when recording a drum set.

  • Choosing the right microphone
  • Microphone placement
  • Sound Dampening

Choosing the Right Microphone

First things first, let’s pick the correct microphone for the job.  Typically you are going to want to use a dynamic microphone that can handle high SPL levels, luckily many manufactures have microphones specifically dedicated to this job.  For the most part many of these microphones are interchangeable as a kick drum mic, but there are several that stand out from the others.   Some mics like the Shure Beta 52A and the Audix D6 are specifically “Pre-EQed” to output a great kick sound by just plugging it in while other more traditional kick mics like the AKG D112 give a more uncolored overall sound to the drum.

Mics: AKG D112, Audix D6, Shure Beta 52A, Sennheiser e602II, Audio-Technica Pro 25, Audio-Technica AE2500, Electro-Voice N D868, Heil Sound PR 48, MXL A-55 Kicker, Blue Microphones Kickball

Other Options: Sennheiser MD421, Electro-Voice RE-20, Shure Beta 91, Yamaha Subkick

Microphone Placement:

Probably the single most important aspect of recording a kick drum is how and where to actually place it.  Depending on the sound you are looking for, you may want to really experiment with your placement.  Have the drummer sit down at the kick and start playing just the kick drum.  Have a good pair of sealed headphones on and have the output from the microphone running into them.  As the drummer plays, move the microphone around until you find the spot you like the best…then lock in the mic stand.

Pointing the microphone directly at the beater (on-axis) will result in the most “click” in your sound.  To get less of the beater in your final sound slowly start to point the microphone away from the beater until you are satisfied with the sound.

Keeping the microphone inside the drum will capture more bass frequencies but also consume the vast amount of reflections as well.  Keeping the mic outside the drum is a great way to cature a less-aggressive Indie or jazzy bass sound.

Experiment with the following variables when positioning your microphone.

  • How close is the microphone is to the beater?
  • Is the microphone on or off axis (pointed at the beater or in some other direction)?
  • Is the mic inside or outside the drum?

Sound Dampening:

Really sit down and listen to the kick drum.  Does it sound like a powerful thud or a bouncing basketball?  Another huge factor in the sound of your microphone is Dampening — that is, the deadening of the sound and other vibrations.  Try placing a pillow or blanked inside the kick drum to alleviate some of the reverberation inside the kick drum as you record.  You can also try removing the front “skin” of the drum.  You can even experiment by extending the length of the drum or by placing two kicks together in tandem.  Just be sure to listen to the kick first, if it doesn’t sound good, then try something else.

Other Things to Consider:

  • Tuning your Kick Drum – It starts at the source, if the drum sounds bad then no microphone can save you
  • Applying Compression – This can really give a drum more snap and make it larger than life in your mix
  • Using Equalization – Don’t boost the low-end too much or the mix will get muddy, sometime cutting muddiness out is the best way to go.
  • Choose the correct beater – Want more click?  Try using a wooden beater, or taping a credit card to the spot where it hits the drum face.