Drum Microphone - Condenser Microphone - Cardioid Microphone
$239.95
General Description
Professional pre-polarized, half-cardioid, boundary layer condenser for bass drum, Leslie and low frequency instrument applications (1 lb 2.4 oz).
Features
- Frequency response optimized for bass drum
- No stand needed -- just lay it on a towel or pillow
- Standard XLR plug: no adaptor cable needed
- Capable of handling extremely high SPLs
Delivery Includes
Drum Microphone - Condenser Microphone - Cardioid Microphone
$239.95
Technical Data
| Dimensions |
5 x 4.1 x 1 in. (126.5 x 105 x 26.5 mm) |
| Frequency response |
20 - 20,000 Hz |
| Max. sound pressure level (active) |
154 dB / SPL |
| Min. terminating impedance |
1,000 Ω |
| Nominal impedance |
< 100 Ω |
| Phantom powering |
48 V / 1.1 mA |
| Pick-up pattern |
Half-cardioid |
| Sensitivity in free field, no load (1kHz) |
0.5 mV/Pa |
| Weight |
1.2 lbs. (550 g) |
Drum Microphone - Condenser Microphone - Cardioid Microphone
$239.95
Recommended Accessories
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Article No. |
Drum Microphone - Condenser Microphone - Cardioid Microphone
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Variants
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Glossary
| Frequency response |
| The frequency response of a microphone is given within the limits defined by the manufacturer. In studio condenser microphones it is generally within the range of between 20 Hz and 20 kHz. |
| Max. sound pressure level (active) |
| The maximum sound pressure a unit can reproduce before a given THD is reached. |
| Min. terminating impedance |
| Impedance at which the connected unit meets the specified technical data. If the unit is connected to a lower impedance, it will usually have a lower output voltage or a greater distortion. |
| Nominal impedance |
| See impedance. |
| Phantom powering |
| Almost all studio microphones are supplied with 48V ±4V phantom power (P48, IEC 268-15). This supply voltage is applied to both modulation lines, while the return current flows via the cable screen. Some microphones can also be powered by batteries or from plug-in mains adapters. |
| Pick-up pattern |
| Also known as polar pattern, directivity. According to their acoustic design, microphones differ in their sensitivity towards sound from different directions. Pressure microphones have a sensitivity that is largely independent of direction (omni-directional pick-up pattern). Pressure gradient microphones have the pick-up patterns wide cardioid, cardioid, super-cardioid or figure-of-eight. Interference microphones can be used to achieve a further concentration of the pick-up pattern (lobar pick-up pattern). As a special case, dummy head microphones achieve the pick-up pattern of the human ear/head (dummy head stereo). |
| Sensitivity in free field, no load (1kHz) |
| Voltage measured at the unloaded output of a microphone which is exposed to a sound pressure of 1 Pa and a frequency of 1 kHz in an anechoic chamber. |
