Milford, NH (June 4, 2009)—Earthworks’ DP25/C and DP30/C tom and snare microphones are now shipping to retail outlets and sound contractors on a worldwide basis.
The DP25/C and DP30/C make their debut following the launch of the FlexWand High Definition Microphone and the PianoMic System. The reputed improved sound quality of the Earthworks DrumKit Systems, says the manufacturer, is due to proprietary advanced technologies utilized in its High Definition Microphones.
The DP25/C, designed specifically for snare drums, has a frequency response of 50Hz to 25kHz, while the DP30/C, designed for toms, has a frequency response of 30Hz to 30kHz. Both microphones have a flexible mini-gooseneck and can handle up to 145 dB SPL.
Larry Blakely, a professional audio industry consultant, while spearheading the research and development at Earthworks, commented: “As is the case with nearly all Earthworks products, the DP25/C and DP30/C High Definition Microphones were developed as a result of listening to customers. They wanted the same type of pristine, detailed sound they were getting from Earthworks drum overhead mics for their snare and toms. We miked a set of drums with nine Earthworks High Definition Microphones (including the new tom and snare mics) and also nine industry-favored mics. When veteran engineers heard the difference between the two recordings, they made the comment that it didn’t even sound like the same set of drums. The increase in detail and sound quality, they indicated, was staggering.”
The new Drum Periscope tom and snare microphones perform in both live sound reinforcement and recording applications. Dream Theatre is among the first international recording artists to put the new Drum Periscope microphones into regular use on the road, and has been touring with them for over a year.
Randy Lane, FOH engineer for Dream Theater, commented: “Dream Theater fans are notorious for their attention to detail and they absolutely demand top-notch audio. So many times, I would be at the console after the show and have drummers come to the front of house and comment that the drum sound was as if they were standing next to the drum itself. The kit was a monstrous 38 channels, with no electronic inputs. Thirty-eight open microphones means the mics that are used must have great off-axis response to minimize feedback and bleed from adjacent sources. The Earthworks mics were stellar in this department. Smooth off-axis response translated into precise drum tones that reproduced the dynamics and articulation that is such an important part of Dream Theater’s music. Small splash cymbals placed in the front of the kit stood out and were not lost in a wash of phase cancellation or lost dynamics. Overall, the Earthworks mics simply sounded like the drums on which they were placed. A clean, accurate and faithful reproduction of the source is exactly what the mics provide.”