Drum Microphone Kit 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.
Drum microphones for live sound and recording
Includes 3 SR25 microphones, 1 KP1 KickPad™, 3 microphone clips and rugged carrying case
Handles up to 145dB SPL without distortion
- 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 25 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
- Ideal three-mic choice for live performance or recording in less than ideal acoustic environments
- Fast setup and teardown
- Comes with 3 SR25s (two for overheads and one for kick drum), 1 KickPad™, 1 windscreen
- The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback
Frequency Response: 20Hz to 25kHz
Polar Pattern: Cardioid
Sensitivity: 20mV/Pa (-34dBV/Pa)
Power Requirements: 24 – 48V Phantom, 10mA
Max Acoustic Input: 145dB SPL
Output: XLR (pin 2+)
Output Impedance: 65Ω balanced (between pins 2 & 3)
Min Output Load: 600Ω between pins 2 & 3
Noise: 20dB SPL equivalent (A weighted)
- (3) Mc1 Microphone Clip
- (3) SRW3 Foam Windscreen
- (1) KP1 KickPad™
- (1) DK25-C Aluminum Carrying Case
The small, light diaphragm responds almost instantaneously to the impact of the drum hit, and then returns to its resting position with virtually no “ringing” or excess motion, capturing a faithful impression of the sound source. When combined with the even attenuation and precise uniformity of the off-axis polar pattern across all frequencies, there is less coloration to deal with when blending the input of other mics on stage.
Of course, the beauty of the DK25 DrumKit System is that it gives you three killer microphones you can also use for other applications. The mics came in handy in the studio that day, because I didn’t like the acoustic piano sound we were getting, even though we were using a very popular set of studio microphones.
All the house engineers and drummers I work with comment on how clear and articulate the sound of the drums are using the live drum kit system. The ability of these mics to handle the sharp attack transients without my using a lot of compression provides a more natural sounding instrument in the live setting.
The main benefit of the DrumKit System over other drum-mic packages is that the full-range SR25 microphones are available for use on other instruments after drum tracking is done.
The use of Earthworks drum mics allows you to capture a very lovely, high-resolution representation of your drum set. I hear a lot more detail using the Earthworks mics versus using other brands of mics.
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.
After setting up a pair of SR25’s as overheads, all of us immediately noticed that the snare drum sounded much bigger and up front in the overheads than it usually does. A full tone — including lots of lower midrange “whack” — was being picked up by the overhead.