A kick drum mic that trades versatility for brute-force low-end capture — and wins on the one job it was built for.
The AKG D112 MkII is a dynamic microphone built for one purpose: capturing kick drum impact. It is heavier than many mics (778 g), requires no power, and belongs to the same lineage as the original D112 — updated, not reinvented. It excels where low-end punch and SPL tolerance matter most. It fails where clarity, air, or transient fidelity are required. It is not a vocal mic. Not a room mic. Not a hi-hat mic. It is a kick drum mic — and nothing more.
The MkII is a direct update of the original D112 kick mic — not a redesign, but a refinement.
2:14
No power. No problem.
It is a dynamic microphone — passive, rugged, and ready to handle high sound pressure without phantom power.
3:24
Weight matters on the stand.
At 778 g, it’s heavy enough to stay planted on a stand, but not so heavy it strains a boom arm.
5:16
One job. Done.
It exists only as a kick drum specialist — not a general-purpose mic, and not meant to be anything else.
Worth your time?
Yes. Use the whole thing.
4/ 5
What works
kick drum capture
bass cabinet miking
high-SPL source handling
What does not
handle high-frequency detail
suit vocal or acoustic sources
replace a multi-purpose dynamic mic
Use it if
drum recording engineers
live sound technicians tracking bass-heavy sources
producers prioritising kick drum tone over flexibility
Skip it if
vocalists
acoustic guitar recordists
anyone needing extended frequency response
The written brief1 min read
What it is and what it was built for
The AKG D112 MkII is an updated version of the AKG D112 kick microphone — a dynamic microphone built specifically for close-miking bass-heavy instruments, especially kick drums.
How it works, in terms a player would use
It is a dynamic microphone. It requires no power. It connects directly to a mic preamp or audio interface input.
What it does better than anything else
It does better than most microphones at capturing the low-mid thump and sub-weight of a kick drum, with high SPL handling and feedback resistance.
What it does badly
It does badly on sources requiring extended high-frequency response or nuanced transient detail — like acoustic guitar, overheads, or vocal nuance.
What people made with it
People made recordings of kick drums, bass cabinets, and other low-frequency sound sources with it.
Who should use it, and who should not
Engineers and producers who track live drums or bass cabs should use it. Vocalists, acoustic instrumentalists, or anyone needing wide-frequency fidelity should not.
Is it worth your time
It is worth your time if you need a dedicated kick drum microphone and value simplicity, durability, and a known sonic character for low-end sources.
