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ELECTRO-VOICE RE320
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AUDIO-TECHNICA ARTIST ELITE AE5100
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EARTHWORKS FLEXWAND
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EARTHWORKS FLEXWAND
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SENNHEISER EVOLUTION SERIES e902
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AUDIX DP7 DRUM MIC PACK
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BLUE MICROPHONES EnCORE SERIES
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SENNHEISER EVOLUTION SERIES (Pictured here with Matt Lowe, Media Director, Free Chapel, Orange County, CA)
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LEWITT AUDIO DTP 640 REX
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ELECTRO-VOICE RE320
Microphones illuminate our inspiration. Drums, percussion, and instrument microphones are the first link in the chain of a sound system; the first piece of technology our messages touch. Whether your music is acoustic or amplified, choosing your next instrumentation microphone is a complex and surprisingly intimate process.
Microphones are often considered the all-purpose tool in the sound engineer's kit: the more versatile the better. When one considers application-specific mic'ing, that old axiom isn't always true. CPM took a look at several of the leading models—some new, some a few years in the market—and spoke with many of the professionals whose main focus is ensuring that the message delivered via your voice, your drums, and all your instruments is loud and clear.
Experts speak out
The EnCore series from Blue Microphones is a relatively new entrant to the field of house of worship and live stage production. Brian Biggott, chief technology officer at Blue Microphones, explains, “All of the knowledge and technology we’ve poured into our high-end studio microphones has now been transferred to the stage with the EnCore series of studio-grade handheld microphone. The EnCore 100i is designed for instrument mic’ing. It utilizes a new dynamic capsule with a custom-tuned diaphragm designed specifically to provide a tighter polar pattern that is perfect for mic’ing instruments and other sources requiring high isolation.”
Biggott continues, “The EnCore 100i is suited for situations where space is limited, such as drum sets. A custom circuit with a transformer and high-pass filter optimizes frequency response for use with drums, electric guitar and bass amplifiers, snare drums, toms, brass instruments, pianos, stringed instruments and vocals. A specifically designed grille provides protection from instrument strikes and facilitates mounting in tight spaces.”
Phil Magnotti, Grammy-winning product specialist at Blue Microphones, adds this tip: “For recording or amplifying a snare drum, place the EnCore 100i just inside the rim of the snare drum about two inches above the top head of the snare drum. To capture more of the ‘attack’ of the snare, point the microphone toward the center of the drum. To capture more of the snare drum body, point the microphone down at the head of the drum.”
Gary Dixon, sales engineer, installed sound for Audio-Technica, recommends choosing a microphone based on its versatility. “Even if it’s slightly more expensive than a ‘one-hit-wonder,’ a house of worship will save money in the long run.” The Artist Elite AE5100 large-diaphragm cardioid condenser instrument microphone, from Audio-Technica, provides uncompromising sound quality with rich, warm, accurate sound. Its large-diaphragm capsule delivers accurate, natural response, while its low-profile design permits innovative placement options.
“When used as drum overhead,” Dixon continues, “the AE5100 picks up all the detail of the symbols and toms. I’ve used a single AE5100 to get extraordinary detail from a drum kit when, in the past, to get the same sound I had to individually mic up an overhead for symbols, each tom, and the floor tom. What is nice: the shape of the microphone makes for easy placement with a regular microphone stand. If I [were] to use a regular large diaphragm microphone, I’d need a much more robust mic stand and balancing weights to get the same sound.”
According to Dixon, the power of a versatile mic is evident in the progression of a house of worship’s program, as the set changes to acoustic and a mic for acoustic guitar is needed. “I want to pick up some of the details in finger movements and dragging on the strings, rather than going direct. The AE5100 is an excellent choice for this application—again it’s a large-diaphragm microphone with a cardioid polar pattern that is consistent throughout the frequency response. The sensitivity and low self-noise complements a stringed instrument nicely and gives me a lot of control when using stage monitors.”
Another especially versatile type of microphone, particularly in kick drum work, is a dual-element mic, such as the DTP 640 REX from Lewitt Audio. It combines a dynamic capsule and a condenser in a single housing and allows their individual characteristics to be adjusted separately and combined at will on two separate channels.
The DTP 640 REX also offers switchable filters for enhanced frequency response. In the flat frequency response position there is no active filter—the microphone remains neutral. Switching to the dynamic enhanced frequency response expands the lower bass range of the kick drum; this is especially beneficial for a production’s overall sound when the writing for the other bass instruments, such as an electric bass, is in a higher register. Finally, the filter curve in the dual enhanced frequency response position provides broad coverage: sufficient bass signal, and precise, strong representation of the highs, which is often ideal for densely textured arrangements. As long as the DTP 640 REX is in dual enhanced frequency response mode, the condenser element focuses on frequencies from 70 to 150 Hz and delivers a full-bodied sound while the dynamic element provides the necessary power by focusing on the range between 3 and 5 kHz. According to the company, the combination of these features with the comprehensive tonal freedom of dual-element technology greatly increases the range of possible applications, enabling the DTP 640 REX to capture any bass instrument while at the same time avoiding any compromises on the kick drum sound.
A discussion of application-specific microphones would not be complete without mentioning Electro-Voice’s RE320. As an all-purpose tool, EV says the RE320 is superior to most in its price range, sporting a patented hum-bucking coil for noiseless operation and a high-output neodymium magnet structure capsule that delivers fast and accurate transient response and pronounced high-frequency detail. It’s the physical “dual personality” switch that sets the RE320 apart, essentially creating two mics in one. One setting of the switch engages a response curve that is ideal for voice and most instrument mic’ing, while the other switch position activates a response curve designed specifically for kick drums with dips and peaks exactly where kick drums need some attention.
Rick Belt, product manager for Electro-Voice Microphones at Bosch Security Systems, says the physical switch is a natural evolution. “We’ve known for many years that the RE20 is sought-after for mic’ing kick drums, despite its original purpose (capturing broadcast vocals),” he says. “Adding the kick drum curve switch position as a key RE320 feature reinforces its usefulness as a specialty instrument mic, in addition to its outstanding performance on voice and low-mid to upper register instruments in the alternate switch position.”
Special circumstances & uses
Applications exist where the perfect microphone is actually two; often, complimentary products exist within the same product line. According to Andrew Kornstein, house of worship market development manager at Sennheiser Electronic Corp., “Sennheiser’s Evolution Series portfolio contains a wide variety of instrument mics perfect for any worship style from traditional to contemporary.” When reaching for the ideal representation of the kick drum, sound engineers often use the e901 and the e902 together in the same application.
Sennheiser says the e902 presents a firm, clearly defined bass sound with a tight punch, and its frequency response features a clear lowering of the mid-range and an accentuated emphasis of the high-end and bass. The result is a clear, grainy sound with a full body and precise kick that effortlessly asserts itself in a band context. The sound can be further shaped by adjusting the mic’s physical position.
The e901 is a rugged boundary microphone that handles high sound pressure levels quite well, and truly shines when paired with an e902. Tailored to give the kick drum a highly precise, dry sound character, the e901 makes every attack lightning fast and realistic. Together, the company says these two mics often allow an engineer to find the perfect blend to reproduce the kick sound.
Due to the unpredictable nature of live performance, a conventional boom-mounted microphone can still be one of the best ways to capture sound in a live environment—a cringe-inducing concept for many minimalist, aesthetically sensitive sound designers on the lookout to reduce stage clutter. “Conventional microphones, booms, and stands with dangling cables in front of musical performers are most often unsightly,” agrees Larry Blakely, director of product development at Earthworks Audio. “Earthworks’ FW730 FlexWand resolves these issues in one elegant, integrated product that sounds extraordinary and is visually appealing.”
The FlexWand, which consists of a fully integrated, small-diaphragm condenser microphone stand and boom, boasts a sleek, low profile design with no visible wires above floor level. The flex mid-section and mini gooseneck on the wand allow the mic to be easily positioned between 1.5 to 7 feet above floor level. While it was conceived for choral mic’ing applications, the FlexWand is also capable of delivering outstanding results on a variety of other sources such as acoustic instruments and drums. Earthworks says the FlexWand makes it nearly effortless to capture sonic excellence in live performances, while completely removing the hassle of set up and negative visual factors.
Blakely adds, “The microphone cable is inside the stand, so there are no visible microphone cables above ground level. When the FlexWands are in place, they are nearly invisible from the congregation. And better yet, they sound better than they look, because of their near-perfect polar response and very impressive sound quality.”
