Earthworks DP30C User Manual - page 5
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Earthworks Drum Microphones
The Earthworks DrumKit™ High Definition Three-Microphone Systems have
had great success because they pick up drum sounds with far more detail and
accuracy than conventional microphones. This improved sound quality is due to
proprietary advanced technologies utilized in Earthworks High Definition Micro-
phones™.
Many drummers such as Jeff Campitelli with Joe Satriani, Keith Carlock with
Steely Dan, and FOH engineers such as Randy Lane with Dream Theater, were
using Earthworks High Definition Microphones™ for overheads, and kickdrum
with exceptional results. They then wanted the same exceptional sound qual-
ity from their snare and tom mics. With the introduction of the DP30/C micro-
phones, they were able to get the same pristine, detailed sound on their toms
and snares as they were from their Earthworks High Definition drum overhead
and kick-drum mics.
We worked with major artists for nearly two years developing and field test-
ing our new DP30/C High Definition tom and snare mic. During the develop-
ment phase, we miked a set of drums with nine Earthworks High Definition
Microphones (including our new DP30/C tom and snare mics) and for compari-
son, we also miked the same drum set with nine industry’s favorite drum mics.
When veteran engineers heard the difference between these two recordings,
they made the comment that the improvement was so dramatic, it didn’t even
sound like the same set of drums. They all agreed, “the increase in detail and
sound quality was astounding.”
Close Miking Toms with the DP30/C
The DP30/C TomMic™ has been optimized for miking toms with a low frequen-
cy response of 30Hz. This extended low frequency response will provide a rich
and full tom sound. You can mike either the top head of a tom with the DP30/C
TomMic™ as indicated in Figure 8 or you can also mike the bottom, or top and
bottom of a tom in a similar fashion as shown on a snare in Figure 7-B. You will
notice in Figure 8-A the microphone head is placed closer to the drum rim, while
in Figure 8-B the microphone head is moved closer to the center of the drum-
head by changing the position of the mini-flex gooseneck.
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A.
B.
Figure 7-A and 7-B Miking the Top or Top & Bottom of a Snare
A.
B.
Figure 8-A and 8-B Miking the Top Head of a Tom
Figure 2-C LevelPad™ inserted into mixer mic input
CAUTION: Plugging the LevelPad into the mic input
of a mixer can cause damage to the mixer input con-
nector if the LevelPad receives a hard push to the
side. However, if your are careful, placing the Level-
Pad at the mixer mic input will provide greater ease
of use in changing the LevelPad attenuation switch.