AKG D112 MKII by 6dyslexicelephnt
The D112 gets a bad rap for having a "beach ball" sound on kick. I have not used it for kick and don't intend to. This review is for how the mic sounds on floor tom where it excels, especially at the price.
The new version MKII has integrated mic stand threads and a tilt head that goes from a right angle to about straight which aides in placement over the original. Both of these new features are really good upgrades and why I decided to get a MKII for $135 new instead of a used original D112 for $100. The published frequency response from AKG seems overly smoothed but this mic does have a pretty smooth sound. If you compare to other popular kick / floor tom mics like the RE-320 (flat setting) or my Beyerdynamic TG-X50, they have similar bumps in the high end and upper frequency rolloff. I would call these "semi-tailored" bass/kick mics.
It seems to have become trendy to say the D112 sucks or at least it has fallen out of fashion, being a mic that has been a live sound staple for many years now. Live sound has its compromises and there are probably better live kick mics now which is why the D112 might sound dated or obsolete.
It is however much less hyped than typical modern kick mics like the Beta 52 or Audix D6 and I appreciate that about it. I prefer dynamic mics on toms and I would venture to say that this is the best floor tom mic at the $135 new price range. The proximity effect is pleasant and useful - the mic can easily be placed about 1.5" from the top head of the floor tom and the head tilted back to adjust for desired amount of boom. For how much crap people talk about this mic, you might expect an over the top unusable sound that only some people like metal heads might like. Personally I think it adds a big close mic sound to floor tom that rolls off the resonant warble of a large head. What this mic adds is very complimentary to what is picked up in the overhead mic(s). It works in a similar way to what the MD-421 does to rack toms - adding fullness and body that is intended to be mixed less than half with the overhead sound. The overhead mics are brighter, the close mics are fuller, and the combination is where the magic happens and you get a full drum sound that masks a little bit of the undesired qualities of a drum kit. This is my preferred drum sound and why I don't care for condenser mics on toms.
If you need a dedicated floor tom mic on a budget, this would be my first recommendation. If your floor tom mic is doing double duty, you might want something like the RE-320 which has more sounds and could potentially be used for something else