Frequently Asked Questions
I’m looking for a microphone that can bring out the bass in my drum, will this microphone do that?
Oh yes. The microphone is as flat* as possible and will most often deliver more bass than you actually need (you can always cut bass out if it’s there, but you can’t add it in if it’s absent) I almost always have the engineer roll-off or shelve the lows depending on the bass response of the soundsystem.
*With a truly flat microphone fixed on a pandeiro, one would expect that simply rocking back and forth playing the platinellas would sound just like the platinellas; “chick-chick-chick.“ However, there’s an immense amount of low-frequency energy that is absorbed by the frame and the left hand of the player, so low in frequency (and therefore volume) that you would never hear it without a microphone because it dissipates quickly. However, this low-frequency energy travels physically into the microphone and underneath the “chick-chick-chick” there’s a “thud thud thud”. Rejecting the boomy thuds without rejecting the fundamental pitch of the skin is paramount. This can be tricky, because these thuds excite partials, rattles, and overtones too. The result was a combination of a subtle filter circuit and the physical shock-mounting scheme.
Can I use it for recording?
I never intended this microphone to be a recording microphone, it is designed for live sound reinforcement. It could never compete with the sound of a studio quality condenser microphone shockmounted on a stand a few feet away from the instrument in a good sounding room in terms of sounding ‘natural’. No recording engineer would ever place a microphone so close to a sound’s source nor anchor it so rigidly to the body of the instrument. After all, not even the player listens with his ears so close to the skin. I developed this microphone to solve the problems of amplifying pandeiro in the clubs and stages on which I’ve struggled to be heard (without adding unnecessary weight). While the platinellas come through an overhead mic clearly quite clearly, bass tones dissipate over the distance of a few feet and this microphone was designed with this proportionality in mind. That said, I’ve been very happy with the extra amount of bass tone that I can get by blending in this microphone with a recording microphone(s) in a controlled studio environment.Delicious recording recipe: Position a quality studio microphone (or stereo microphone array) in front and overhead 2-4 feet from the drum. (use your ears, this will depend on the critical distance of the room in which your are recording). With this microphone attached to your drum, bring both channels up on your mixer and blend to taste. You can even roll off the highs of the Frame Drum Mic (use it to capture the close bass sound) and roll out the lows of the overhead microphone (using it to pick up the sound of the highs and reflections of the room). You will need take time to listen and adjust the crossover point while adjusting the blend of the two microphones, but the results can be amazing! Just be sure to mind the 3:1 rule of microphone placement which states that the second mic should be three times the distance from the first mic that the first mic is from the source. In this case, it would mean that your second mic should be at least 8 inches away (in most cases, even 8 inches will be to close for playing).