CMK User`s Manual
Contents
1. adjust the desired height Then the mini gooseneck will provide a good amount of latitude in posi tioning the microphone head from any pre set microphone body height Adjusting the height of the Drum Periscope microphone body is shown in Figure 5 A and 5 B Figure 5 A and 5 B Adjusting DP30 C Microphone Height Positioning the Microphone Head Once the Drum Periscope microphone height has been set then the mi crophone head can be positioned where you desire However you should never place the microphone head parallel to the drumhead The micro phone head should always be at an angle to the drumhead This will prevent any possibility of the diaphragm being forced to the microphone back plate which could cause an unwanted pop or thump in the sound or recording system ments are in the areas of impulse response diaphragm settling time and polar technologies Those who have heard Earthworks High Definition Microphones say that they hear more of the attack and more subtle details with a more pristine quality in the sound than with any other mi crophones 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 so Our objective is not to indicate which drum miking approach is better but to make suggestions and look at advantages and disadvantages of each Every engineer or pro ducer uses their own methods to obtain the2. the brilliant engineer who invented the unique technolo gies 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 quality and performance of microphones In short Earthworks High Definition Microphones will pick up sounds and detail that other microphones cannot These technological improve The flexible mini gooseneck will allow you to move the microphone head either up or down above the drumhead as well as in and out from the drum rim In addition you can change the angle of the microphone head for your desired results Figure 6 A shows how the microphone head can be rotated while Figure 6 B shows how the microphone head can be moved more toward the center of the drum by changing the positioning of the mini gooseneck Figure 6 A and 6 B Positioning the Microphone Head Plug in the LevelPad if necessary In close miking drums one should keep in mind that the peak sound level at the microphone head is extremely loud Microphones used for close miking drums should have a sound pressure handling capability of at least 140dB SPL to prevent audible distortion The Drum Periscope microphones will handle up to 145dB SPL without distortion However as mentioned earlier with this kind of high sound pressure level it is possible for the microphone output to be as much as 24dBV which may overload some microphone pream
3. the other set of grooves is off center or closer to the edge of the rim guide These two sets of grooves provide you with three mounting options 1 placing the off center rim guide grooves close to the drum shell 2 or rotating the off center grooves 180 degrees will place the rim guide further away from the drum shell and 3 the center grooves will allow placement in between the positions described in 1 and 2 Offset Groove Offset Groove Positioned Positioned on Left on Right Centered Grooves Figure 4 B Positioning the Cushioned Rim guide
4. DP30 C DP30 C Frequency response Polar Pattern Sensitivity Power requirements Peak acoustic input Output Minimum output load Noise Dimensions L x D Weight e o ER UN NE 30Hz to 30kHz 2dB 1 Cardioid 10mV Pa 40dBV Pa 48V Phantom 10mA 145dB SPL XLR PIN 2 6002 balanced between pins 2 amp 3 22dB SPL A weighted 10 75 x 860 inches 275mm x 22mm 221b 100g StH WW SWZ AN S AN g R E a FR 180 ip 90 CLECE 500 fl MOTO 4K 16K Earthworks HIGH DEFINITION MICROPHONES Made in U S A Earthworks Inc 37 Wilton Rd Milford NH 03055 603 654 6427 ext 14 www earthworksaudio com Printed in U S A Earthworks CLOSE arMIC S YO TEN FOR TOMS amp SNARE HIGH DEFINITION MICROPHONES USER S MANUAL CMK4 2 25 CMKS 2 25 Earthworks HIGH DEFINITION MICROPHONES 13 NOTES Congratulations on your purchase of an Earthworks CMK4 or CMK5 CloseMic Kit System You will be thrilled with the results you will be able to obtain using the CloseMic Kit System After reading this manu al if you have any unanswered questions please email or phone us using the contact information on the back page of this manual Happy Drumming First identify the exact product you have purchased from the list below Then verify that you have received each of the items listed below the pro
5. SnareMic has been optimized for miking snare drums and toms and has a low frequency response down to 30Hz If the DP30 C sounds a little tubby on your snare drum then use a high pass filter set somewhere between 60Hz and 100Hz to reduce the low frequency response or a low frequency equalizer EQ to accomplish the same thing by attenuating cut ting a few dB in the area of 60Hz to 100Hz for the desired results The DP30 C SnareMic can be used on either the top drumhead bottom drumhead or both Figure 7 A shows a snare drum with a DP30 C micro phone placed over the top drumhead while Figure 7 B shows a share drum with both the top and bottom heads miked Figure 7 A and 7 B Miking the Top or Top amp Bottom of a Snare Close Miking Toms with the DP30 C This extended low frequency response and the crisp transient response of the DP30 C 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 atom 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 drumhead by changing the posi tion of the mini flex gooseneck of the mic line or by plugging the LevelPad directly into the preamplifier input The most popular practice is to plug the LevelPad
6. al results They then wanted the same excep tional sound quality from their snare and tom mics With the introduction of the DP30 C microphone they were able to get the same pristine detailed sound from their toms and snares as they were from their Earthworks High Definition drum overhead mics We worked with major artists for nearly two years developing and field testing the 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 also nine industry favored mics When veteran engineers heard the difference be tween 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 The DP30 C was designed specifically for snare and toms that features a flexible mini gooseneck for easy positioning in addition to a high acoustic input level that can handle up to 145 dB SPL The Earthworks patented polar technology provides excellent rear rejection and a uniformity of fre quency response out to 90 degrees off axis This vastly reduces phase cancellation or other phasing issues and minimizes cymbal leakage as well as acoustic feedback problems in live sound applications Earthworks High Definition Microphones the New Science in Microphones David Blackmer
7. and reliable results and will withstand the rigors of the road We welcome you to the ever growing number of drummers and sound engineers using Earthworks High Definition Microphones We know that when you use the Earthworks High Definition Drum Periscope Microphones for your recording and live performances you will be thrilled with the results We are pleased to welcome you to the ever growing family of professionals using Earthworks High Definition Microphones We hope the suggestions in this manual have been beneficial to you Don t be afraid to experiment with mic placement You can be as creative with your mic placement as you are with your music You are the judge of what works best and sounds best If you have any questions or require any additional information please do not hesitate to contact Earthworks using the contact information on the back cover of this manual FIFTEEN YEAR WARRANTY All Earthworks products excluding accessories carry a fifteen year limited warranty parts and labor If you have any problems with your Earthworks products please contact our warranty repair department by email at returns earthworksaudio com or by telephone at 603 654 6427 ext 19 12 11 suggested that the microphone head be positioned between 1 5 inches and 3 inches above the drumhead All of the previous information in this manual applies to both toms and Snares when using a Drum Periscope Microphone The DP30 C
8. duct model name Items Enclosed with CMK4 CloseMic Kit 4 DP30 C Drum Periscope Microphones 4 LP1530 LevelPads 4 RM1 RimMount 4 PW1 Foam Windscreens 1 CMK C High Impact Carrying Case with custom foam insert 1 CMK4 CMK5 User s Manual CMK5 CloseMic Kit 5 DP30 C Drum Periscope Microphones 5 LP1530 LevelPads 5 RM1 RimMount 5 PW1 Foam Windscreens 1 CMK C High Impact Carrying Case with custom foam insert 1 CMK4 CMK5 User s Manual Version 5 June 1 2012 IMPORTANT NOTICE Please Read This Use of the LevelPad DP30 C microphones have a high output level which may overload the preamps of some mixers or consoles Many out board microphone preamplifiers and preamplifiers in mixing consoles will handle as much as 24dbv at the microphone input without distortion We suggest that you check the maximum preamp input level specifications of your mixer or preamplifier to see if it will accommodate signal levels this high Some mixers and preamps will not handle levels this high at the microphone input To prevent overload please use a LevelPad in the microphone cable feeding each DP30 C Microphones Some mixer or outboard preamplifiers have a pad that can be switched in or out However some of these pads are not attenuators that precede the pre amplifier input instead they only reduce the gain of the preamplifier These so called pads will provide no input ov
9. erload protection from high level microphone signals see Fig 1 A In contrast other outboard or mixer pre amplifiers have actual pads that precede the preamplifier These types of pads will provide the input overload protection that is needed see Fig 1 B Such pads will typically provide 10dB or 20dB attenuation However due to the very high output level of the Drum Periscope microphones 10 dB or even 20dB may not be enough attenuation when close miking snares or toms with DP30 C Microphones A Pad Microphone Microphone Input Microphone Preamplifier Preamplifier Microphone Input Figure 1 A and 1 B Preamp Input Pads In any case where the pad does not precede the preamplifier or the pad does not provide enough attenuation the Earthworks LP1530 LevelPad can be used and will provide either 15dB or 30dB of attenuation The LevelPad comes housed in a stainless steel tube with gold plated XLR connectors on each end As the LevelPad is inserted in the mic line it will always precede the preamplifier input It makes no difference if the LevelPad is inserted at the microphone or somewhere in the middle Figure 8 A and 8 B Miking the Top Head of a Tom The DP30 C High Definition Drum Periscope Microphones have been used successfully by drummers with major recording artists in both recording ses sions and for live performance The Drum Periscope Microphones will pro vide you with years of exceptional
10. into the pre amplifier input which makes it more accessible to switch the attenuation settings 15dB or 30dB if needed Figures 2 A 2 B and 2 C show how the LevelPad can be inserted into the microphone line in one of three ways as indicated below LevelPad Figure 2 A LevelPad inserted at the microphone base LevelPad Figure 2 B LevelPad inserted in the microphone cable D D lt D u E BEE L EG CAUTION Plugging the LevelPad into the mic input of a mixer can cause damage to the mixer input con SS 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 Figure 2 C LevelPad inserted into mixer mic input Earthworks Drum Periscope Microphones The Earthworks DrumKit High Definition Three Microphone Systems have had great success because they pick up drum sounds with far more de tail and accuracy than conventional microphones This improved sound qual ity is due to proprietary advanced technologies utilized in Earthworks High Definition Microphones Many drummers such as Jeff Campitelli with Joe Satriani Keith Carlock with Steely Dan and FOH engineers such as Randy Lane with Dream The ater were using Earthworks High Definition Microphones for overheads and kickdrum with exception
11. plifiers The use of the Earthworks Lev elPad in the microphone line will prevent any such distortion or overload So to be safe we suggest that you first plug a LevelPad into the mic line feeding the Drum Periscope microphone For full information refer to pages 3 and 4 of this manual Close Miking Snare Drums with the DP30 C As previously mentioned when close miking drums with a DP30 C micro phone never position the microphone head parallel to the drumhead Al ways position the microphone head at an angle to the drumhead It is also 10 The various types of metal drum rims may have the bottom flange of the rim either closer to the shell or further from the shell Depending upon the type of metal drum rim one of the previously described three posi tions will allow the RimMount bracket to be mounted parallel to the drum shell The soft protective Polyolefin coating on the RimMount bracket will prevent the possibility of scratching the drum shell finish Position the rim guide so the bottom edge flange of the drum rim fits comfortably into one of the rim guide grooves This will insure that the cushioned rim guide remains securely in place as you tighten the thumbscrew to firmly secure the RimMount to the drum rim Adjusting the Microphone Height Once the RimMount is mounted securely on the drum rim with the DP30 C microphone housed in the rubber holder the microphone body can be moved either up or down in the rubber holder to
12. results they desire and that s what matters Multi microphone Method The objective in multi microphone drum miking is to place a separate microphone on either most or all the elements of a drum set Typically separate mics are used on snare toms high hat and kick drum with one or two overhead microphones The overhead mics pick up the overall sound of the drums including cymbals which are typically not miked separately With 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 bringing out certain patterns on sock cymbal snare etc Multi miked drums may be desirable when you are recording in a large room with high ambient sound as it will reduce the amount of unwanted room sound Multi miking is also a popular practice for miking drums in live sound applications such as concerts as it will provide more gain before feedback in addition to greater control of the drum mix No Phase Cancellation Issues with Earthworks Microphones One of the typical disadvantages in the multi microphone approach when using conventional microphones is the interactive microphone phasing problems that result in the cancellation of certain frequencies These phasing problems are a result of the poor polar response of conventional microphones Conventional mic
13. rophones have a drastically different fre quency response between the front and sides of the microphone It is common for conventional microphones to have a loss of 10 to 20 dB at high frequencies on the sides of the microphone This is why you can three singers on a conventional microphone the one in front of the mic sounds great but the two on the sides have a dramatic loss of quality These drastic changes in high frequency response on the sides of the microphone cause phase differences and these are the root cause of phase cancellations with conventional microphones In contrast Earthworks has a patented polar technology that provides our microphones with the same frequency response on the sides of the mi crophone as it does at the front no more than a 3dB loss at any frequency out to 90 off axis This very uniform frequency response at the front and sides of the microphone will nearly eliminate any phasing issues when using Earthworks microphones In addition Earthworks cardioid micro phones have a very high rejection of sounds at the rear back of the mi crophone This feature will greatly reduce the leakage of cymbals or other sounds at the rear of Earthworks microphones Close Miking Toms and Snares with the DP30 C Drum Periscope Microphones Inserting the DP30 C into the RM1 RimMount It is suggested that you insert the Drum Periscope microphone into the RM1 RimMount prior to attaching the RimMount to the drum To insert
14. the Drum Periscope microphone into the RM1 RimMount just place the mic head and the mini gooseneck into the rubber holder from the bottom of the RimMount Then push the body of the microphone from the bottom XLR connector end to move the microphone up inside the rubber holder The fit will be firm so you will need to apply a little pres sure to move the microphone body up into the rubber holder The sug gested procedure is illustrated in Figure 3 Figure 3 Inserting the Drum Periscope Mic into the RimMount Mounting the RM1 RimMount to the Drum The RM1 RimMount is designed for metal drum rims and will not work on wooden drum rims While reading this section please refer to Figure 4 A which refers to the various elements of the RimMount Mounting the RimMount to the drum rim is quite easy First unscrew the thumbscrew so there is more than enough space for the Delrin cushioned rim guide to clear the bottom of the drum rim Then determine where on the drum rim you want to place the microphone and place the top hook portion of the RimMount bracket over the top edge of the drum rim Soft Polyolefin Coated Metal Bracket Hook Portion of Bracket Rubber Holder Thumbscrew Delrin Cushioned Rim guide Figure 4 A Elements of the RM1 RimMount Referring to Figure 4 B notice that on the cushioned rim guide there are two sets of grooves One set of grooves is in the center of the rim guide while
Download Pdf Manuals
Related Search