Since the mid-’90s, Earthworks have built a reputation for making very honest-sounding small-diaphragm microphones for use on stage and in the studio. The latest addition to their range, and the subject of this review, is the DP series of ‘drum periscope’ cardioid mics: the DP25C, which is designed for close-miking snare drums; and the DP30C, for similar applications with tom-toms.
Overview
Earthworks say they make ‘high-definition’ mics, which they claim offer a particularly fast and neutral response across a wide frequency range (the DP25C has a frequency response of 50Hz to 25kHz (±2dB), and the DP30C 30Hz to 30kHz (±1.5dB) — even when compared with other small-diaphragm condenser mics. Their argument is based on research into human hearing and into mic and loudspeaker design by Earthworks founder David Blackmer. He found that people can differentiate sounds only five microseconds apart, and that even though the upper threshold of human hearing is around 20kHz, the intermodulations and overtones caused by energy above that figure influence the overall quality of the sound we perceive.
Melbourne, Australia, May 19, 2010 – Known as The Crowdies to its fans, the rock band Crowded House is ramping up for a new tour whose European leg kicks off in Newcastle, England on May 18th before coming Stateside on July 12th. In addition to performing popular hits such as “Don’t Dream It’s Over” and “Something So Strong,” Crowded House will launch a new album— Intriguer—in mid June, so fans everywhere can expect lots of fresh, new music. From test and measurement to miking the guitars, this tour relies heavily on its microphone arsenal—all of which are drawn from the catalog of Milford, NH-based Earthworks.
Crowded House drummer Matt Sherrod (seated behind drums) and Angus Davidson with their Earthworks microphones.
Angus Davidson is the FOH Engineer for Crowded House. With a background that spans thirty years of live and studio work, Davidson won an Entech award for Engineer of the Year in 1997 for his work on Crowded House’s Farewell to the World tour. Further, his resume also includes several world tours with the British progressive rock band Supertramp and he also heads up the live sales efforts for Avid’s Venue Series consoles in Australia and New Zealand. With a track record like this, it’s safe to say Davidson knows the live sound business.
For the new Crowded House tour, Davidson reports that Earthworks High Definition Microphones are everywhere. “We’re presently using twenty-eight mics on this tour—all of them various Earthworks models,” notes Davidson. “I first met Earthworks company representatives back in 2008 when I purchased the PM40 PianoMic™ system as well as the DK25/L DrumKit™ microphones. I first used these mics for an Avid Venue road show throughout Australia and New Zealand and have been using them ever since. If you count the PM40, which is presently out on an orchestral project in Australia, we have a total of twenty-nine Earthworks mics currently in use.”
For the Crowded House tour, Davidson is using Earthworks’ DK25/L drum kit microphones (a 3-microphone package optimized for drum set miking) in conjunction with two DP25/C High Definition snare microphones and four DP30/C High Definition tom microphones. Combined with an SR30 High Definition microphone for the hi-hats as well as two SR40 High Definition mics for drum overheads; it becomes quite clear that Davidson really likes the sound of Earthworks microphones for capturing the drums.
“The Earthworks mics are a great solution for drum miking,” Davidson reports. “I use the new 40 kHz SR40’s in a classic X-Y pattern for the drum overheads and they deliver extraordinary depth of field and stereo imaging. The super fast rise time of the diaphragms results in stunning transient response and clarity.”
Davidson also raved about the Earthworks DP25/C and DP30/C microphones. “These new DP25/30 drum mics are spot on when it comes to massive headroom and an uncanny ‘openness’ that belies their proximity to the drums,” he says. “With every show being recorded through my Venue Profile console to Pro Tools HD, we have a pristine signal that we can do anything with later in the mixdown process.”
In addition to an extensive drum kit microphone setup, Davidson also deploys Earthworks SR30 microphones in a wide range of applications, including miking guitar cabinets and the Leslie tone cabinet for the organ. Further, he uses an Earthworks M50 when taking acoustic sound measurements. Particularly noteworthy, he also has six Earthworks 40 kHz SR40HC High Definition Microphones with custom-designed windscreens for vocal use and is particularly fond of their performance.
“The new SR40HC’s are the best, flattest and ‘tightest’ sounding vocal mics ever,” Davidson said. “No hype in the high mids means you can make them sound however you want. Off-axis response is superb and they have bucket loads of headroom. I developed the idea of a conventional windscreen and the guys at Earthworks had a prototype made for me to try out in less than a week. I’ve never heard such definition and punch in any other vocal mic I’ve previously used.”
Before turning his attention back to the demands of the tour, Davidson offered these final thoughts. “It’s not often that the FOH and Monitor guys agree 100% on the choice of microphones. To be able to select one brand to do every job on stage is unheard of! It is a testament to the quality of these Earthworks mics that we can’t find one chink in the armor. Are we happy with their performance? We’re way beyond happy!”
For additional information about Crowded House, visit the band online at www.crowdedhouse.com.
About Earthworks, Inc.
Earthworks is a New Hampshire, U.S.A. based manufacturer of High Definition Microphones™ that is dedicated to quality and sonic excellence. Each Earthworks product is handmade with great care, meticulous attention to detail, and a strong emphasis on quality. Earthworks prides itself in making only the very best in professional audio equipment intended for mission critical sound applications.
Click here for a hi-res image of Crowded House drummer Matt Sherrod (seated behind drums) and Angus Davidson with their Earthworks microphones.
Tom and Snare Mics Deliver Unparalleled Quality Both On the Road and In The Studio
Milford, NH, June 3, 2009 – Earthworks, manufacturer of High Definition Microphones™, announced the introduction of its DP25/C and DP30/C tom and snare microphones, which are now shipping to retail outlets and sound contractors on a worldwide basis. The DP25/C and DP30/C make their debut following the highly successful launch of the FlexWand™ High Definition Microphone™ and the award winning PianoMic™ System.
DP30/C Cardioid TomMic™
The Earthworks DrumKit™ 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 Microphones. The DP25/C and the DP30/C are able to capture an exceptional degree of detail due to their extended frequency response and fast impulse response. The diaphragms found on the DP25/C and DP30/C settle much more quickly than competing microphone diaphragms, enabling them to more accurately capture the widely varying timbre and dynamic sounds typically found in a drum performance.
The DP25/C, designed specifically for snare drums, has a frequency response of 50Hz to 25kHz while the DP30/C, designed for toms, has a frequency response of 30Hz to 30kHz. Both microphones have a flexible mini-gooseneck and can handle up to 145 dB SPL. Their polar patterns feature excellent rear rejection, helping engineers control unwanted bleed and feedback.
Larry Blakely, a well known professional audio industry consultant, while spearheading the research and development at Earthworks, commented: “As is the case with nearly all Earthworks products, the DP25/C and DP30/C High Definition Microphones™ were developed as a result of listening to customers. They wanted the same type of pristine, detailed sound they were getting from Earthworks drum overhead mics for their snare and toms. We miked a set of drums with nine Earthworks High Definition Microphones (including the new tom and snare mics) and also nine industry favored mics. When veteran engineers heard the difference between the two recordings, they made the comment that it didn’t even sound like the same set of drums. The increase in detail and sound quality, they indicated, was staggering.”
The new Drum Periscope™ tom and snare microphones perform exceptionally well for both live sound reinforcement and recording applications. Dream Theatre is among the first international recording artists to put the new Drum Periscope microphones into regular use on the road, and has been touring with them for over a year.
Randy Lane, FOH engineer for Dream Theater, commented: “Dream Theater fans are notorious for their attention to detail and they absolutely demand top notch audio. So many times I would be at the console after the show and have drummers come to the front of house and comment that the drum sound was as if they were standing next to the drum itself. The kit was a monstrous 38 channels, with no electronic inputs. 38 open microphones means the mics that are used must have great off-axis response to minimize feedback and bleed from adjacent sources.”
“The Earthworks mics were stellar in this department,” Lane continued. “Smooth off-axis response translated into precise drum tones that reproduced the dynamics and articulation that is such an important part of Dream Theater’s music. Small splash cymbals placed in the front of the kit stood out and were not lost in a wash of phase cancellation or lost dynamics. Overall, the Earthworks mics simply sounded like the drums on which they were placed. A clean, accurate and faithful reproduction of the source is exactly what the mics provide.”
To learn more about the DP25/C and DP30/C High Definition Microphones™ visit www.EarthworksAudio.com.
About Earthworks
Earthworks is a New Hampshire, U.S.A. based company that is dedicated to quality and sonic excellence. Each Earthworks product is hand made with great care, meticulous attention to detail and a strong emphasis on quality. Earthworks takes great pride in making only the very best in professional audio equipment and it is all made right here in the U.S.A.
Milford, NH, April 13, 2009 – Earthworks, the High Definition Microphone™ manufacturer, announced that since August of 2008, The Killers’ drummer Ronnie Vannucci has been on the road testing Earthworks’ recently introduced Drum Periscope™ series of High Definition Microphones™. The Drum Periscope™ series consists of a DP25/C snare microphone and a DP30/C tom microphone. These microphones are attached to the drum rim (top or bottom) with the RM1 drum rim mount accessory. According to Vannucci, these new snare and tom microphones have been passing with flying colors: “I wouldn’t trade the new Drum Periscope mics for anything. I have used the best of the best, and these mics are just unreal.”
Vannucci first became acquainted with Earthworks’ High Definition Microphones™ using the DK25/L (2 overheads and 1 kick drum mic). In fact, he used these mics extensively on The Killers’ last studio album, Day and Age. He also used an Earthworks SR30 HC on a chorus section he recorded in the back of a bus for “Joy Ride,” a track off the same album. Since then, Vannucci has extended his use of Earthworks’ mics into many other areas–both in live performance and the studio, never looking back.
“When I initially received microphones from Earthworks, my intention was to use them on stage, but I’ve been so pleased with their performance that I’ve been using them for recording applications more and more,” Vannucci says. Since The Killers have such a heavy tour schedule, they do a lot of recording while on tour. “At every gig, we have a backstage room that is closed off which becomes our recording area,” he explains. “Our set up for these rooms is comprised mostly of Earthworks mics; we find that they bring out the natural nuances of each room.”
Since putting Earthworks High Definition Microphones™ to the test over a year ago, Vannucci says their performance has excelled in all areas: “You don’t need to drive these mics a lot; they have a sensitivity all their own,” he observes. “They are also very natural sounding–I like this because when I start mixing, I am starting with a natural sounding drum. What I hear in the studio is what I want to hear on playback. I have used the best of the best, and the Earthworks High Definition Microphones™ are just unreal.”
Vannucci also states that the folks at Earthworks are nice to work with: “It’s nice to work with people who are so down to earth and so interested in gathering feedback about their products.”
To learn more about the DP25/C and DP30/C High Definition Microphones™ visit www.EarthworksAudio.com, and listen to audio samples at the product pages for the DP25/C and DP30/C.
About Earthworks
Earthworks is a New Hampshire, U.S.A. based company that is dedicated to quality and sonic excellence. Each Earthworks product is hand made with great care, meticulous attention to detail and a strong emphasis on quality. Earthworks takes great pride in making only the very best in professional audio equipment and it is all made right here in the U.S.A.
The Drum Periscope™ High Definition Microphones™ are designed for close miking toms and snare drums, and will take a direct hit from a drumstick. A right angle mic head is mounted to the gooseneck for easy positioning. The Drum Periscope™ is mounted parallel to the drum shell with the RM1 RimMount™.
Improved impulse response for faster and more accurate transients
Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks
Extended frequency response to 30 kHz to capture a crisper and more realistic image
Near perfect polar patterns that remain even across all frequencies and at any position within the pattern
Will take a direct hit from a drumstick
A right angle mic head is mounted to the gooseneck for easy positioning
Stiff mini-gooseneck that will not move when the drums are hit hard
The microphone capsule housing is designed to protect the microphone capsule and withstand a direct hit from a drumstick
The electronics are housed in a cylindrical tube attached to the other end of the mini-gooseneck and provide a high level, low impedance output that will prevent RFI
Cardioid polar pattern
Frequency response of 30Hz to 30kHz
Very fast impulse response making it ideal for reproducing the rich low frequencies and full detail of the attack
145dB SPL capability ensures the mic will not overload from the loudest of drum attacks
Short diaphragm settling time allows you to hear a full-bodied sound with subtle details that you cannot hear using conventional microphones
Heavy construction enables it to withstand the punishment of the road
The Drum Periscope™ High Definition Microphones™ are designed for close miking toms and snare drums, and will take a direct hit from a drumstick. A right angle mic head is mounted to the gooseneck for easy positioning. The Drum Periscope™ is mounted parallel to the drum shell with the RM1 RimMount™.
Improved impulse response for faster and more accurate transients
Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks
Extended frequency response to 30 kHz to capture a crisper and more realistic image
Near perfect polar patterns that remain even across all frequencies and at any position within the pattern
Will take a direct hit from a drumstick
A right angle mic head is mounted to the gooseneck for easy positioning
Stiff mini-gooseneck that will not move when the drums are hit hard
The microphone capsule housing is designed to protect the microphone capsule and withstand a direct hit from a drumstick
The electronics are housed in a cylindrical tube attached to the other end of the mini-gooseneck and provide a high level, low impedance output that will prevent RFI
Cardioid polar pattern
Frequency response: 50Hz to 25kHz
Very fast impulse response making it crisp and clean on snare without sounding tubby
145dB SPL capability ensures the mic will not overload from the loudest of drum attacks
Short diaphragm settling time allows you to hear subtle details that you cannot hear using conventional microphones
Heavy construction enables it to withstand the punishment of the road
"Once we started using the PM40, we found we were able to run with the volumes we wanted to run at;...
