Real World: What's New in Microphones?
Glad You Asked

By Gary Gand

While many of the models in our Real World Gear listings have been around for quite some time, several interesting instrument mics have recently debuted. Here’s a sampling:


AKG C 430 ­ A condenser that’s part of the new, expanded MicroMic III Series, it’s a cardioid mic primarily intended for overhead percussion applications. It offers a transformerless output and universal phantom powering. And, it can be battery powered with the optional B 15 power supply.


Audio Technica AE2500 ­ For kick drum applications, it offers two elements ­ condenser and dynamic ­ in a single housing. Elements are positioned in a “perfect phase” relationship, something practically unachievable with two separate microphones. Includes 80 Hz high-pass filter switch and 10 dB pad on condenser element. Comes with 16.5-foot cable (5-pin XLRF to two standard 3-pin XLRM connectors) for separate control over each element.


Audix MICROS ­ Very small condenser mics with integrated preamp and detachable cables. The M1245 is less than 2 inches long while the M1290 is 3.5 inches in length. Individual models include a variety of polar patterns, including cardioid, hypercardioid, omni-directional and shotgun capsules Phantom powered (48-52 volts). Offered in rosewood case, supplied with 12-inch cable, mic stand adapter and windscreen.


Crown CM-700 ­ A cardioid condenser intended for overhead drum micing or acoustic instruments. Includes a 3-position bass roll-off switch. A stereo matched pair of CM-700s is available as the CM-700MP.


Peavey PVM 46 Diamond Series ­ Dynamic hypercardioid microphone intended for both vocal and instrument use. Like many popular mics of the past decade, it includes a neodymium magnet that provides increased sensitivity over conventional microphones. The diaphragm is also diamond-coated diaphragm. Comes with swivel adapter and protective pouch.


Shure KSM141 ­ An end-addressed condenser with mechanically switching dual polar patterns (cardioid and omnidirectional). Designed for both studio and live applications. Includes Class A, discrete, transformerless preamplifier. Offers 3-position switchable pad (0 dB, 15 dB, and 25 dB) and 3-position switchable low-frequency filter.


Sennheiser Evolution E 903 ­ A dynamic type with cardioid pattern intended primarily as a snare drum mic. To this end, it is designed with a capsule tailored to deliver a punchy transient response as well as offering shock mounting that lessens stray noise. Comes with a carrying pouch and mic clamp.


A Different Direction

Just introduced at Summer NAMM 2003, the Yamaha Subkick is a unique mic designed to capture audio below 100Hz. Subkick uses a standard loudspeaker (which looks very much like a NS-10M woofer to me!) in combination with a drum shell. The 6.5-inch woofer (frequency response 20Hz to 8kHz) is shock-mounted inside a 7-ply maple shell fitted with black mesh heads.

Designer (and Yamaha drum artist) Russ Miller figures that the drum shell focuses sound waves in a strong, directional pattern through the speaker. The heads, although sonically invisible to those frequencies, add a small amount of sustain to the overall sound. There is a standard XLR mic connector and no phantom power is required.

To demonstrate at a demo you could actually hear, Yamaha had a simple PA/subwoofer setup with a Subkick on both the bass drum and floor tom. With or without regular drum mics, this system really works, adding loads of big bottom end and sustain. Sells for about $499 MSRP complete with stand.

 

Gary Gand moved to the mixing side of the console in 1976, and is the owner of Gand Sound, based in Northfield, Illinois, where he stays busy running the company and mixing a wide range of gigs. He can be reached at ggand@gand.com

September 2003 Live Sound International

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