First things first. The D-6 is an excellent mic, in my opinion. It puts up a strong, clear representation of the drum that you put it in front of. It is a definite contender in the competition between Shure’s Beta 52, AKG’s D-112 and the Sennheiser E602, all of which are mics I have had good shows with, as well. The highest praise I could give the D-6 is to say that when I first put it up, it sounded right, not even needing the immediate EQ corrections I often make on the mic I usually request, the Beyer M-88.

Which brings me to my second point. The kick drum category, in the world of microphones, is approaching the saturation point that concert speakers attained a few years ago. In other words, we have tipped over into a zone where there is a plethora of decent designs, it is no longer just, “Do you want the 421 or the RE20?” I can have a good day with Turbo, with Meyer, with VDOSC, with any number of speaker brands. With different kick drum mics, I do not pitch a fit, if something other than my requested choice is not supplied. I just get to work and do my best to get the sound I am looking for, from what is there.

I learned about the M88 from British mixers I met at the Warfield Theatre, a decade ago. The M88 gives you a tight, focused picture of the drum. I often dial out some 500 Hz, but to me the mic has an outstanding ability to punch through almost any mix, no matter how clangorous. Many of the other brands can crap out and get boomy or flappy when you need to start driving hard. If you want an exaggerated super-phat booming low end with the M88, you need only grab your LF knob and make it happen – the mic has it in reserve, but does not automatically drench you with it.

On one of the shows I used the D-6 for, the crew leader (who had seen my input list asking for the Beyer mic) mentioned how often people are blowing up this particular sound company’s M88’s, and now, if you want to use one on kick, you have to formally acknowledge the risk you are taking, and specifically promise to pay for it if it dies. I produced the D-6, ending the discussion.

For many years, Audix has offered the smaller D-4, mentioning kick drums as one of the applications it can handle. I think most people discount the D-4 due to the fact that it is not as physically large as a D-112 or B-52. I used the D-4 (as people who read the LAB may have heard me mention) for many, many shows a few years ago, with the band Cake, and found it to be absolutely great for the kick, the floor tom and the bass cab.

A healthy D-6 plant, with one ready to be picked!

It reminded me of the M88 in its tone and flexibility. If I don’t watch out, I am going to start talking like a wine steward here! Ah yes, the D-6 has an unobtrusive yet savory aftertaste, part caramel, part lemongrass, with a hint of shag tobacco, and just the tiniest whiff of old Chuck Taylors.