background image

3

Earthworks High Definition Microphones

the New Science in Microphones

David Blackmer, the brilliant engineer who invented the innovative technol-
ogies  of dbx, is also the inventor and founder of Earthworks. In the last few 
years of his life, David developed a number of revolutionary technologies that 
dramatically improve the sound quality and performance of microphones. In 
short, Earthworks High Definition Microphones™ pick up sounds more accu-
rately and with more detail than conventional microphones. These dramatic 
improvements are in the areas of impulse response, diaphragm settling time 
and advanced polar technologies. Those who have heard Earthworks High 
Definition Microphones™ say they have more rear rejection and more gain 
before feedback in addition to hearing more detail of the attack, more subtle 
detail from low level signals thereby providing a more pristine sound quality 
than with any conventional microphones can provide, regardless of price. 

Miking Drums

There are many ways to mic drums and it seems that most every recording or live 
sound engineer has their own way of doing this. Our objective is not to indicate 
which drum miking approach is better, but to make suggestions and look at ad-
vantages and disadvantages of each. Every engineer or producer uses their own 
methods to obtain the results they desire, and that’s what matters. 

Multi-microphone Method

The objective in multi-microphone drum miking is to place a separate micro-
phone on most or all the elements of a drum set. Typically, separate mics are 
used on snare, toms, hi-hat and kick drum, along with one or two overhead 
microphones. The overhead mics pick up the overall sound of the drum set 
including cymbals (which are typically not miked separately). By this method, 
the mixing engineer can control the level, and signal processing (limiting, EQ, 
etc.) for each element of the drum set (toms, snare, hi-hat, etc.). This provides 
a great deal of control over the sound of the entire drum set and allows bring-
ing out certain patterns on hi-hat, snare, etc. Multi-miked drums are desirable 
for live sound, providing more control and increased gain before feedback, 
and when recording in a large room with high ambient sound this reduces the 
amount of unwanted room sound and provides greater control of the drum mix.

Earthworks Near-Perfect Polar Response

One  of  Earthwork’s  proprietary  technologies  is  near-perfect  polar  response 
i.e. very uniform response over the front 160º of the microphone. Conventional 
microphones  (even  expensive  ones)  have  a  loss  of  high  frequencies  at  the 
sides of the microphone. Have you ever tried to put three singers on a single 

Summary of Contents for CMK4 CloseMic Kit

Page 1: ...CMK4 CMK5 User s Guide CloseMic Kit...

Page 2: ......

Page 3: ...ead This The DM20 s High SPL Handling and Lower Output Level The DM20 has been designed for close miking toms and snares with high SPL handling of 150dB and a reduced output level In most cases the DM...

Page 4: ...uch as Jeff Campitelli with Joe Satriani Steve Gadd Keith Carlock Ronnie Vannucci Anton Fig Anthony King and many top FOH engi neers touring with major artists are using Earthworks High Definition Dru...

Page 5: ...d vantages and disadvantages of each Every engineer or producer uses their own methods to obtain the results they desire and that s what matters Multi microphone Method The objective in multi micropho...

Page 6: ...ing up the un wanted sound of other elements of the drum set from the rear of each micro phone Earthworks cardioid microphones have a very high rejection of sounds at the rear of the microphone This g...

Page 7: ...18dB of Rear Rejection Using Conventional Drum Mics Competitive Microphones Approx 18dB Rear Rejection Figure 4 32dB of Rear Rejection Using Earthworks Drum Mics Earthworks Microphones Approx 32dB Rea...

Page 8: ...hone up inside the rubber holder The fit will be firm so you will need to apply a little pressure to move the microphone body up into the rubber holder The suggested procedure is shown in Figure 5 Mou...

Page 9: ...r further from the drum shell One of the three positions A B or C previously mentioned will allow the RimMount bracket to be mounted par allel to the drum shell Position the rim guide so the bottom ed...

Page 10: ...the microphone head be positioned between 1 5 inches and 3 inches above the drumhead The flexible gooseneck will allow you to move the microphone head either up or down above the drumhead as well as i...

Page 11: ...ype LP20 LevelPad into the microphone cable will provide 20dB of attenuation to help prevent any distortion or overload For full information refer to pages 1 and 2 of this manual Close Miking Snare Dr...

Page 12: ...gure 10 A the microphone head is placed closer to the drum rim while in Figure 10 B the microphone head is aimed toward the center of the drumhead by changing the position of the gooseneck Experiment...

Page 13: ...tions or require any additional information feel free to contact Earthworks directly using the contact information on the back cover of this manual and don t forget to register your warranty informati...

Page 14: ...12 NOTES...

Page 15: ......

Page 16: ...3 Noise Weight 11 12 inches 282 44mm 55lb 25kg Frequency response Polar Pattern Cardioid Sensitivity 8mV Pa 42dBV Pa Power requirements 24 48V Phantom 10mA Peak acoustic input 150dB SPL 50Hz to 20kHz...

Reviews: