If you are yet to hear a Kick Drum through a microphone placed close to the floor, angled towards the lower third of the beater-skin, positioned just behind the drummer's stool then it must be time. This has been a favourite mic' placement of mine for many years now and I continue to utilise it in every recording of a kit ~ it simply rocks. There is SO much bottom end back there, capturing the attack also from the beater-side of the drum. Considering it's the only element of the kit we traditionally mic' up from the opposite side of the attack you may not truly capture that wonderful long wavelength from the front. Many engineers utilise a second kick mic' placed further out in front of the kit, but you tend to capture the rest of the kit also. This makes this signal less punchy in the mix and also adds a "paper-like" room sound to the lowest pitched drum of the kit; not my preferred tone. For years I used a "kick-cubby" to entomb the far kick mic' in front thereby lessening the room elements of that position, but I do prefer the rear position where there is no need for a "cubby." I am using this technique with the debut album of Jesse Valach at Coloursound, to which studio owner/engineer Mat Robins exclaimed "Oh I've gotta use that next time - that's awesome." Check it out next time you're tracking; I prefer a ribbon but a PZM also does wonders back there - a la derriere!