The Shure BETA®52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and "punch", and delivers studio quality sound even at extremely h...
Mentioned by FOH engineer Dan Green in this *AudioTechnology* magazine article about the Ghost Stories Tour. > AT: Are you able to borrow much from the studio mic cabinet on tour? > > DG: A few bits and bobs, but the demands are very, very different on the road. In the studio, your mic choice can be all about character. But in a live context you’re after mics that reproduce transients very clearly — you need that front-end bite on most sounds to cut through. I mean, you’re not going to stick up a Neumann U67 three metres above and behind the drumkit as a ‘room’ mic, for obvious reasons. So I tend to use more dynamic microphones: SM57s on guitars and a Shure Beta52 on the bass drum. And also the Earthworks microphones which are really good for drums. They’re my close mics and from there I get a sense of depth using reverb and other plug-ins. > > AT: You clearly like what the Earthworks mics are doing. > > DG: They cut through really nicely and they preserve a lot of the front-end attack of the sound, which is something you really need. In stadiums and arenas you can’t really have a sound that has too much decay because the room has so much decay anyway — ‘sharp’ and ‘short’ wins every time. Given that the original Beta 52 was discontinued at this point in history, one can assume that it is the reissue 52A.more
“Starting with the kick drum, I used an AKG D30, but then I sometimes used the Shure Beta 52A and I used a [Yamaha SKRM-100] Subkick too at times. On the snare drum, I had a [Shure] SM57 or sometimes the Telefunken M80. It’s a little more of an open kind of mic. With the toms, I used a [Shure] Beta 52A on the floor tom, which I really liked. It’s really got a lot of bottom and some top but it’s got a thing where it kind of glues things together with the rest of the kit when you bring it in. It worked really well with the overhead mics. I also used a [Shure] SM7 on one tom. For overhead mics, of all things, I used these [MXA] MCA SP1s. "more
Unprocessed has a dull sub focus response but also picks up enough information for drastic EQ shaping. It's kind of magic on a kick. If you're gonna have one kick mic this should be it.
I love this microphone for the bass drum. I have used it in the mic port and also putting it inside the bass drum and pointing it towards the beater head. I position it off center and pointed a little about the bass drum beater.