It is very handy for taking care of loud volume levels. Suitable for instruments and vocals. The D12 was AKG’s first dynamic mic, produced in 1953—the D12E, the “Motown mic,” as it became known—that brought a low-end optimized dynamic mic sound to market. Place a flat PZM mic on the plywood and blend to taste. So why not mic up the bass in a normal way but in addition to that, place a...maybe half a sheet of plywood on the floor, set the bass on the plywood. matched with the right type of microphone pre-amplifier, and BAM!!! Obviously it needed a good amount of eq. In general, AKG D112 makes the most versatile approach, thanks to the wide frequency response range and high SPL handling. I've recently got most beatiful upright jazz Bass sound by using combination of AKG C414 TLII in wide cardioid about 50cm away and 20 cm above bridge with lavalier attached to the bridge (I can't remember which lavalier, but it was omni and the bass player has been using it for his live sound). by stapes » Fri Oct 03, 2003 4:33 pm, Post To my understanding it's a bit more clicky (and physically robust) than a D12, but mellower and more natural than most other BD mics. go figure. the d12 has that awesome puffy top end that you hear. I heard somewhere that the d12 was originally designed for opera singers. I recently was pleased with an SM57 w/broadcast style windscreen, just pointed towards the sound hole on a small boom. Sometimes a second mic further down towards the bottom of the instrument can help fill it out (I really dig a FET47 for this), but sometimes is smaller rooms, it tends to muddy up the sound. Any suggestions for temporarily damping booming rooms when recording King Kong's guitar? by stapes » Tue Oct 07, 2003 10:31 pm, Post If you need the modern kick drum sound, it's got it in spades, and occasionally I'll wish I had it around. Sometimes a second mic further down towards the bottom of the instrument can help fill it out (I really dig a FET47 for this), but sometimes is smaller rooms, it tends to muddy up the sound. The D12 was AKG’s first dynamic mic, produced in 1953—the D12E, the “Motown mic,” as it became known—that brought a low-end optimized dynamic mic sound to market. It’s price point is very attractive to budding producers and sound engineers of all levels. If you hate the sound of the d112 (which I do), then you'll probably like the sound of the D12. A small-diaphragm mic can sound really good in there, but is sometimes difficult to position, especially if the player moves or plays arco (with a bow). Hey there! I've got an AKG D112 while the D12 is getting repaired. ↳   5/03-2/05: Off-Topic / Off-Color / Off-the-Cuff, ↳   5/03-2/05: Musicians Wanted/Available, ↳   5/03-2/05: Producer/Engineer and Studio Job Listings. AKG Advert from the late 50’s With the growth… by joel hamilton » Fri Oct 03, 2003 10:38 pm, Post Much more focused sound. by bern » Sat Oct 04, 2003 10:04 pm, Post general questions, comments and ideas about recording, audio, music, etc. by soundguy » Tue Oct 07, 2003 7:35 pm, Post The small-diaphragm suggestion is a good one. i´ve been tracking Uprightbass a lot lately....I´m not sure if your problem is the mics your using. I was just looking through that purple jimi hendrix experience box set that came out a few years ago. My experience has been that the particular bass tends to make the biggest difference of all. They're totally different. AKG D112 is able to handle up to 160 dB SPL without any audible distortion. 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