For a modern sound, combine an R-121 with a dynamic mic. Angle the R-121 downward at 45 degrees, and position it 10-14 inches from the kick drum head. To protect the ribbon from blasts of air, be sure to position the mic away from any holes cut in the head. The 45 degree angle protects the ribbon element by allowing it to take the low frequency, high SPL kick drum impact unevenly down the length of the ribbon, letting the ribbon flex without stretching it out. The sound of the R-121 in this position has often been compared to a FET-47. Add a dynamic mic, such as a D-112, 421, or even an SM57 placed inside the drum, to pick up the attack of the beater. Balance to taste!

Important Note:

Royer R-series ribbons have excellent side rejection which extend to the top and bottom sides of the mic as well. If you were to talk into the null points (the ribbed sides) of an R-121 or R-122, or directly at the top or bottom of the mic, you would hear next to nothing. This pattern is extremely useful for rejecting unwanted sounds in your recordings. Because the top of the mic is a null point, leaning the microphone forward – which points the top of the microphone directly at the rest of the drum kit – gives you a well isolated kick drum, almost as if you had a blanket over the kick and the mic for isolation.

For a more “vintage” sound, skip the dynamic mic. Brian Blade’s live drum miking – R-122 on kick, R-121’s on overheads, R-121 on high hat.

Position the mic a little further back for a nice jazz kick drum.