KICK IN · KICK OUT · PHASE
How to Record a Kick Drum with Two Microphones
Give each microphone a job—commonly inside for attack and outside for body—then establish the primary sound, bring in the second quietly and test polarity and timing by ear. Preserve useful acoustic delay unless alignment clearly improves the complete kit.
WHY IT WORKS
The mechanism behind the sound
Two microphones capture the same event at different positions and times. Their overlapping frequencies can add or cancel, while their different perspectives can also provide the desired attack–body balance.
ASSIGN ROLES
Do not record two versions of the same problem
Let one microphone establish the primary drum. Use the second for a missing perspective—commonly direct attack from inside and rounded body from outside. Filtering redundant regions can make the roles clearer.
POLARITY AND TIME
Test different operations separately
Polarity inversion flips the complete waveform; timing adjustment changes phase by frequency. Compare polarity first, then explore small delay changes if needed. A visually aligned onset is not proof that the full moving drum waveform will combine best.
INCLUDE THE KIT
The overheads are part of the phase decision
Bring the overheads back before committing. The strongest isolated close-mic blend may weaken the kick in the complete kit or make its arrival feel unnaturally detached.
PRACTICAL TEST
Make one controlled change
- Name the role of each microphone.
- Balance the primary microphone first.
- Add the second and compare both polarity states.
- Try very small timing changes only after the polarity test.
- Confirm with overheads and bass.
Common mistakes
- Making both microphones full-range and equally loud.
- Visually aligning waveforms without listening to the whole decay.
- Ignoring the overhead phase relationship.
- Calling polarity inversion phase alignment.
Listen for…
- More useful body without a hollow centre.
- One arrival rather than a flam.
- A natural relationship with the overheads.
QUESTIONS
Frequently asked
What is kick-in versus kick-out?
Kick-in usually means a microphone inside the drum for direct attack; kick-out usually means a microphone outside for front-head tone and body.
Should I flip polarity on one kick microphone?
Test both states. The correct result depends on placement, wiring and the frequency balance of each microphone.
Should I align two kick microphones exactly?
Not automatically. Natural delay can contribute depth; align only when the audible combination improves across the whole drum and kit.
Which kick microphone should be primary?
Use the one that captures the more important musical role with the least correction.
SOURCES
References behind this guide
- Recording Drums: Setting Up and Microphone Technique Source: Shure
- Beyond the Basics: Drum Miking Source: Shure
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