Michael Hurwitz explains the plan for putting the Earthworks microphones through their paces (PM40 PianoMic™, SR40V Vocal mic, SR30, SR25 Drum mics, Flexwand™ FW730) during this live performance at Cherry Beach Sound in Toronto.
Posts Tagged ‘sr25’
Earthworks Clinic
Saturday, August 7th, 2010Earthworks Microphones Deployed At Louisiana State Capital
Tuesday, June 15th, 2010Customized SR25 and FlexMic™ models prove ideal for prestigious facility
Baton Rouge, LA, May 6, 2010 – The Louisiana State Capital, which houses the Louisiana State Legislature, the governor’s office, and parts of the executive branch, is a national historic landmark. Completed in 1932, the 34-story, 450-foot Alabama limestone-clad skyscraper is decorated with sculpture representing the State’s history and is the tallest capitol building in the United States, the tallest building in Baton Rouge, and the seventh-tallest building in Louisiana. The Louisiana State Capital is presently undergoing a multi-phase upgrade of its audio-visual facilities and, as part of this effort, numerous microphones from Milford, NH-based Earthworks Inc. are being deployed.
NBTA Engineers, Inc. of Baton Rouge, an engineering consultancy that designs audio-visual, telecommunications, and security systems, was contracted to handle the design and specification of the building’s extensive electronics upgrade. As microphones are critical elements in this type of installation—not only for sound reinforcement, but also for recording/documentation purposes—NBTA’s design team took a long, hard look at the manner in which the microphones are typically used. Trez Traylor, President of NBTA Engineers, discussed the challenges they encountered.
“During our observations of both the Senate and the House of Representatives, Traylor explained, “we quickly realized that, unlike professional entertainers, many of the men and women had little—if any—real experience using microphones. Some people would hold the mic against their chest as they spoke while others would look down at their paperwork without taking into account the placement of the microphone. The result was extremely inconsistent sound quality and audio levels, making it quite challenging to hear what was being said. For this reason, we knew that off-axis microphone performance was critical if we were to improve the situation.”
“Similarly,” he continued, “we needed to find microphones that were easy to use, could be positioned at the optimum height, and in some cases, provided visual feedback as to their on/off status. We quickly realized we were looking at a situation that required customization. After identifying the most promising microphone models, we spoke with a number of manufacturers. In short order, we selected Earthworks—both for the performance of their microphones as well as for the company’s responsiveness and flexibility in terms of addressing our requirements.”
The first phase of NBTA’s Louisiana State Capital Audio – Video Systems Upgrade called for 114 Earthworks SR25 microphones and 46 of the company’s popular FlexMic™ models. For the SR25’s, the Earthworks engineering team customized the microphones’ sound for handheld applications, used a lighter metal to better facilitate comfort while holding the microphones, and also used an anodized finish to ensure greater durability. Additionally, the modifications called for 40 ‘screw-on’ windscreens. The Earthworks FlexMic™, which is being used for tabletop applications, was customized with a special, extended boom length and had LED light rings incorporated into the tip of the microphones to indicate on/off status. Ford Audio-Video, a well known integration firm with numerous offices throughout the United States, handled the actual installation.
The Earthworks microphones are installed throughout both chambers of the Louisiana State Capital as well as in committee rooms. Traylor commented on the microphones applications, “To ensure the greatest ease of use, we have the SR25 handheld microphones connected via a special assembly that automatically retracts the microphone cable back into the desk. This keeps cable clutter to an absolute minimum while the mics are in use and effectively hides the cable the moment it is put down. The FlexMics, which are positioned on lecterns and all other permanent positions at the front of the two chambers, connect directly into a flush mounted XLR connector on the surface—creating a clean look and providing easy to adjust positioning.” Biamp Audia and QSC Q-Flex networked audio processing and management systems provide DSP functionality and a Crestron automation system integrates the microphones with other equipment.
Before turning his attention to other matters, Traylor commented on Earthworks’ customer and technical support services and its impact on the Louisiana State Capital project. “Everyone at Earthworks has been a pleasure to do business with,” he said. “The company has a real ‘can do’ attitude and they delivered the equipment right on schedule. I was impressed with the company’s understanding of what we were looking to accomplish and of their willingness to provide mockup products during the evaluation stage. We’ve been very pleased—both with the performance of the equipment as well as the company’s ability to take on custom projects. As we complete this first phase of the Louisiana State Capital’s audio-visual renovation, we’re now looking at the second phase, which involves roughly eleven more committee rooms—each with anywhere from 15-25 microphones. Rest assured, we’re planning on bringing Earthworks back for the next round!”
For additional information about NBTA Engineers, Inc., contact the company at 225-761-1112.
If you are interested in working with Earthworks to customize microphones for an installation or high volume order, please contact our sales department at sales@earthworksaudio.com or (603) 654-6427.
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 a podium inside the Louisiana State Capital chamber equipped with an Earthworks microphone.
Earthworks Mics On Tour With Nine Inch Nails
Monday, June 14th, 2010Milford, NH – December 14, 2009 – Industrial rock band Nine Inch Nails (NIИ) recently completed an extensive world tour that began April 20th, 2009 in West Palm Beach, FL and extended throughout the United States, Europe, Eastern Europe, the Middle East, Asia, and the Pacific Rim—playing venues ranging in capacity from 5,000 to 25,000. In all, the storied band performed 74 shows in 64 cities—with the final eleven concerts, known officially as the Wave Goodbye tour, marking the conclusion of the band’s existence. Through it all, the larger-than-life drum sound of Ilan Rubin’s drumkit can be credited to the stellar performance of microphones from the Earthworks catalog.
Pete Keppler, FOH (front of house) Engineer for NIИ, along with Michael Prowda, the band’s Monitor Engineer, were tasked with selecting and deploying a wide range of equipment for the tour. As anyone who has ever miked a drumkit knows all too well, placement and the right choice of microphone make all the difference in the world when it comes to capturing a quality drum sound. That’s precisely why Keppler and Prowda selected Earthworks’ SR25 and SR30 Time Coherent Cardioid Microphones for the drums.
Keppler, who has also mixed tours for David Bowie, Rufus Wainwright, Patti Smith, David Byrne, and Aimee Mann, discussed the challenges of miking the drums and the decision to deploy Earthworks’ SR25 and SR30. “I really wanted to get the full ‘experience’ of Ilan’s bass drum,” explained Keppler, “which required a mic outside the drum to get the massive bottom end I was after. Mike and I tried several other mics in this position, but the SR30 was clearly the winner. It picked up the kick drum’s sub-low energy better than any other mic, as well as its ‘punch’ factor.”
“The SR25’s for drum overheads are amazing,” he continued. “With the SR25’s, the kit sounded super-open and natural—without the brittle top end I frequently hear from a lot of other condenser mics. I used the SR25’s as overheads for a considerable amount of the snare and tom sounds. The Earthworks mics were a marked improvement over the previous microphones we’d used. Another key challenge for any microphone on a Nine Inch Nails stage is durability. There’s a fair amount of activity up there, and the Earthworks mics came through with flying colors—we encountered no issues whatsoever.”
Like Keppler, Michael Prowda is a seasoned audio veteran and has mixed tours for the Eagles, Beck, Joe Jackson, Alice in Chains, Carly Simon, and Prince, to name but a few acts. He discussed those characteristics that really set the Earthworks microphones apart from the competition. “During rehearsals before the tour started, we had an opportunity to try out a number of different hardware solutions,” Prowda said. “The sound we obtained with Earthworks’ KickPad attenuator/EQ processor was really impressive and this led us to the SR25’s, which we ultimately used for overheads. The SR25’s are very accurate and deliver a very controlled sound. Shortly after that, we auditioned the SR30 on the kick drum and really liked what we heard. These mics have great transient response, which is critical for getting a good drum sound.”
Prowda was equally complimentary of Earthworks’ customer/technical support services, “Our entire industry functions on customer service, and Earthworks was a pleasure to deal with—starting from my initial interest in their products. The company was very responsive to my inquiry and went out of their way to help us find the products that worked best for our situation. Everyone was extremely helpful.”
With the NIИ tour now in the rear view mirror, Keppler reflected on the events that transpired, Earthworks’ involvement, and what the future may hold. “I toured with NIИ for three and a half years,” notes Keppler, “and Mike was onboard for a year longer. During that time, we tried literally dozens of different mics on that stage. The moment we started with the Earthworks’ mics, the improvement was immediately apparent—and I mean a big change. We’re really grateful to the Earthworks folks for all their support. While NIИ may no longer tour, fans can rest assured that Trent Reznor has a number of surprises up his sleeve. Whatever tour we find ourselves on, you can be certain that Earthworks will be right there with us!”
For additional information on Nine Inch Nails, visit the website at www.nin.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. For additional information, visit the company online at www.earthworksaudio.com.
The Limehouse Chooses Earthworks
Monday, June 14th, 2010October 9, 2009
New ‘Affordable Audiophile’ Studio Chooses Earthworks

Ex-Turnkey Managing Director Rupert Pfaff has just opened a new canalside recording studio in East London; The Limehouse, which is billed as providing audiophile recording at affordable prices, and from the looks of what’s on offer it certainly seems to deliver.
“We spent a considerable amount of time auditioning microphones and were determined to go with what our ears told us, and not the name on the badge! We’re aiming to set ourselves apart by offering extremely accurate acoustic recordings, and we found that Earthworks’ products deliver exactly that. In the end we chose two matched pairs of SR25s, which are great for XY, ORTF and drums (especially with the aid of the KickPad), and a matched pair and single QTC30 which we’ve made some lovely Decca tree recordings with on location, as well as beautifully detailed piano.” Rupert Pfaff – Studio Manager, The Limehouse
The studio has already seen action for the 25th Anniversary Remix of Simply Red’s ‘Money’s Too Tight’, as well as new projects from top producers Gareth Jones and Elliot Mazer, and tracking work for Yusuf (Cat Stevens).
For more details or bookings, contact The Limehouse on 0800 678 5878 or visit their website at www.recordingstudiolondon.co.uk
News Story Courtesy:
Unity Audio Ltd The Elms Barn Baythorne End Halstead Essex CO9 4AF UK
EARTHWORKS SR25’s for MIDAS ProSound
Monday, June 14th, 2010
Milford, NH, December 2008 – Sound engineer Paul Nicholson is a recent convert to Earthworks microphones. “Since my return to MIDAS ProSound I have been back mixing bands on a regular basis. For many years I used the industry standard roster of microphones but I wanted to try something different and move forward. My goal as an engineer and service provider is to supply the best possible expertise and equipment to the client and the humble microphone is probably the most important part of the audio chain. In my quest for audio nirvana Iain Macdonald suggested that I contact Kevin Walker at Unity Audio in order to test out the EARTHWORKS range. The first available show happened to be the Adriano Adewale Band at Salisbury Arts Centre. Adriano is a world famous percussionist so I went for a DK25/L live performance kit consisting of three SR25 cardioid microphones. I decided to use two for overheads on Adriano’s percussion kit and the third for the Berimbau at the front of the stage. As soon as the overheads went live it was a complete revelation… everything on the kit was picked up in equal measure by just the two SR25’s. The rest of the band who were listening to the line checks simply said it was an amazing sound. Adriano arrived at the desk for the rest of the line checks and said that the band were knocked out by the incredible percussion sound. The third SR25 was placed at waist height at a right angle to a wedge monitor and despite the close proximity to a loud sound source it was almost like being in a studio with bags of headroom and again that wonderful coherent sound. The EARTHWORKS claims of quick impulse response and diaphragm settling time, uniform and extended frequency response, and phase coherency, really do work. I cannot recommend these microphones highly enough.”
SR25
Wednesday, May 26th, 2010For quiet and loud sources
- Ideal for drum overheads, snare, high hat and kick drum
- Ideal for close miking other instruments such as acoustic guitar, string acoustics and amplified instruments.
- Frequency response extends to 25kHz
- Effortlessly handle up to 145dB SPL while simultaneously revealing subtle details that other microphones mask
- Provides excellent results for both live performance and recording applications
Listen
For Drum Overheads
DK25/L
Monday, May 24th, 2010DrumKit™ for live performance

The DK25/L is for live performance and has three SR25s: two for overheads and one for kick drum, a KickPad™ and a windscreen. The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback. The DK25/L is also ideal for use with multi-miked drums (four or more mics) in either live or studio applications. In such cases it is recommended that two SR25s are used for overheads.
Earthworks High Definition Microphones™ will provide a substantially better drum sound than conventional microphones. The DrumKit™ Series three-microphone systems provide a more cohesive and unified drum sound. You’ll hear more attack, more subtle detail and a more pristine quality in the sound than with any other microphones. The Earthworks drum microphones capture every nuance of sound from each piece of the drum set with such an exceptional clarity and cohesiveness, which make it sound like a live set of drums, not a bunch of pieces.
- 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
- More cohesive and unified drum sound
- Hear more attack and subtle detail
- Increased detail and dynamic range
- Versatile, multi-use mics
- Mics are protected in a high impact case
- Fast setup and teardown
- 3 SR25s: two for overheads and one for kick drum
- 1 KickPad™
- 1 windscreen
- Comes housed in a rugged carrying case
- Ideal three-mic choice for live performance or recording in less than ideal acoustic environments
- The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback
See what people are saying about the DK25/L
Listen
Drum Set recorded with 7 conventional microphones
Drum Set recorded with Earthworks DK25/L cardoid 3-mic DrumKit (SR25 overheads & SR25 on kick drum)
DK25/R
Monday, May 24th, 2010DrumKit™ for recording
The DK25/R is for recording and has two TC25 omnis for overheads, an SR25 cardioid for kick drum, a KickPad™ and a windscreen. This model is ideal for use in an enclosed acoustic environment or in a drum room/booth.
- 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
- More cohesive and unified drum sound
- Hear more attack and subtle detail
- Increased detail and dynamic range
- Versatile, multi-use mics
- Mics are protected in a high impact case
- Fast setup and teardown
- 2 TC25 omnis for overheads
- 1 SR25 cardioid for kick drum
- 1 KickPad™
- 1 windscreen
- Comes housed in a rugged carrying case
- Ideal for use in an enclosed acoustic environment or in a drum room/booth
Listen
Drum Set recorded with 7 conventional microphones
Drum Set recorded with Earthworks DK25/R omni 3-mic DrumKit (TC25 overheads & SR25 on kick drum)
Ronnie Vannucci
Sunday, April 18th, 2010
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.”
See our Photo Album Gallery for more live shots of The Killers.
Visit The Killers on the web: http://www.thekillersmusic.com/
Ronnie’s solo project: http://www.bigtalkmusic.com











