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As you can see, there is already a decrease in the 400 Hz area and an increase at the 4 kHz band, making EQing the kick less needed. And when dealing with EQ, especially analog EQ, the less needed the better.
For a bass guitar, 4-6 kHz is the presence range, and 5 kHz is commonly added
to vocals to bring them more forward. In EQing instruments, you tend to avoid
boosting the same harmonics on different instruments. This avoids muddiness. So
this mic would work pretty well for a bass guitar as well. You may have to
add back in some 400 Hz to give some clarity - but in general this mic would
work.
When miced closer, there is obviously going to be an increase of bass signal due to proximity effect. In the case of a kick, this is most often done in live circumstances where leakage is a major problem. In doing this, you of course lose the shell sound, but you increase the fundamental frequency of the kick. This would increase the "punch" of the bass drum - allowing it to come through in the live setup.
Having used this microphone previously, I have noted that it has delivered the best kick drum sound that I have heard between the various types of microphones I have used for kicks
(Electrovoice RE-20, Sennheiser MD-421). I have been told that the EV RE-27 is also very good - but I have no experience in this area and can't verify or compare.
Included with the microphone is a placement chart. Now, in general, placement charts are used to allow people who may not have a good idea of where to place a microphone a place to start. Once again it is a recommended concept - not set in stone. But, because Shure included the info - I will give a general idea of what was said and the responses you may get from the different setups.
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