Description

7-Piece Wired Dynamic Drum Mic Kit

A 7-piece wired dynamic drum mic kit is an essential tool for capturing the full range of sounds from a drum set, whether for live performances or studio recordings. These kits typically include a variety of microphones tailored to pick up the low frequencies of bass drums, the sharp attacks of snares, and the subtle nuances of cymbals. High-quality kits, like the Depusheng 7-Piece Wired Dynamic Drum Mic Kit, offer durable metal construction and specialized microphones for each drum component, ensuring that every beat and tone is accurately reproduced. With features such as pneumatic shock mounts, cardioid polar patterns to isolate sound sources, and compatibility with various audio instruments, these kits are designed for both amateur and professional use. The inclusion of all necessary mounting hardware and carrying cases in such kits makes them a convenient and reliable choice for drummers looking to amplify their sound with clarity and precision.

Product Description：

SUPER CARDIOID DYNAMIC INSTRUMENT MICROPHONE: The microphone is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and punch and delivers studio-quality sound even at extremely high sound pressure levels.

HIGH OUTPUT DESIGN DRUM MICROPHONE: The compact microphone is a high output super-cardioid dynamic microphone designed for professional sound reinforcement and project studio recording. Its extremely uniform super-cardioid pickup pattern provides high gain before feedback and excellent rejection of unwanted noise.

SIMPLE INSTALMENT AND CONNECTION: A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation. Each instrument microphone is designed with the standard thread 3/8″ or 5/8″ to match all types of the microphone stand. The stand adapter keeps the microphone securely in place, even if it is struck by a drumstick.

ADAPTABLE AND WIDE RANGE OF APPLICATIONS: Typical microphone applications include the close making of tom-toms and other percussion instruments, as well as guitar amplifiers, brass instruments, and woodwinds. All mics come with standard XLR connectors to allow compatibility with most audio instruments.

FEATURES:

S/N Ratio: 70dB

Connector: Standard

XLR Power Supply: Phantom 24-48V

Polar Pattern: Uni-Directional

Max Input SPL: NA/NA/130dB(@1kHz<1%T.H.D.)

Output Impedance: 400Ω± 30%/500Ω± 30%/200Ω± 30%

Sensitivity: -58dB(+/-)3dB/-53dB(+/-)3dB/-45dB(+/-)3dB

Frequency response shaped specifically for kick drums and bass instruments Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum Studio quality performance, even at extremely high sound pressure levels Supercardioid pattem for high gain before feedback and superior rejection of unwanted noise Hardened steel mesh grille that resists wear and abuse Advanced pneumatic shock mount system that minimizes the transmission of mechanical noise and vibration Neodymium magnet for high signal-to-noise ratio output Low sensitivity to varying load impedance

Big Drum Mic Element

Big Drum Mic Element: Moving Coil Dynamic,

Polar Pattern: Uni-Directional,

Frequency Response: 50 Hz-15 kHz,

Sensitivity: -60 dB +/- 3 dB (0 dB = 1 V/Pa at 1 kHz),

Output Impedance: 500Ω +/-30% (at 1 kHz)

Small Drum Mic Element and Condenser Mic Element

Small Drum Mic Element: Moving Coil Dynamic

Polar Pattern: Uni-Directional

Frequency Response: 50 Hz-14 kHz

Sensitivity: -52 dB +/- 3 dB (0 dB=1 V/Pa at 1 kHz)

Output Impedance: 500Ω +/-30% (at 1 kHz)

Condenser Mic Element: Electret Condenser

Polar Pattern: Uni-Directional

Frequency Response: 50 Hz-18 kHz

Sensitivity: -45 dB +/- 3 dB (0 dB=1 V/Pa at 1 kHz)

Output Impedance: 200Ω, Max Input SPL: 130 dB (at 1 kHz < 1% T.H.D.), S/N Ratio: 70 dB Power Supply: Phantom 48 V

GENERAL RULES FOR MICROPHONE USE

1. Aim the microphone toward the desired sound source and away from unwanted sources. This may not be obvious or intuitive, Since Supercardioid microphones such as the microphone have narrow pickup patterns and can pick up sounds from the rear. Refer to Figure on the following page.

2. Place the microphone as close as practical to the desired sound source (refer to the table in the opposite column)

3. Work close to the microphone for extra bass response

4. Use only one microphone to pick up a single sound source

5. Use the fewest number of microphones as practical

6. Keep multiple microphones separated by a distance equal to at least 3X the distance to the nearest sound source

7. Place mics as far as possible from reflective surfaces

8. Use a windscreen when using the microphone outdoors.

PACKING INCLUSIONS:

One big drum microphone; four small drum microphones; two condenser microphones; two condenser microphone holders; four-thread inserts (3/8-inch and 5/8-inch threads); four 3/8-inch threads; four clamps for snare/tom microphones; and two windscreens for condenser microphones