Sontronics DM-1T Handleiding

Sontronics Microfoon DM-1T

Lees hieronder de 📖 handleiding in het Nederlandse voor Sontronics DM-1T (2 pagina's) in de categorie Microfoon. Deze handleiding was nuttig voor 68 personen en werd door 2 gebruikers gemiddeld met 4.5 sterren beoordeeld

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The Sontronics DM Series is a collec-

tion of condenser microphones dedicated

to drum recording. DM presumably

stands for Drum Microphone, and the

series is currently comprised of three mod-

els: the DM-1B kick drum mic, DM-1S

snare mic, and DM-1T tom mic.

We have been looking at Sontronics

microphones and preamps for a few years

now and the DM series is a bit of a depar-

ture for the company. The mics are still

designed in the UK and manufactured over-

seas. However, unlike the Orpheus and

Sigma (reviewed June 2010) or the Halo

(reviewed July 2013), all of which featured

the company’s “future retro” stylings such

as bulbous head baskets, spring-suspended

capsules, and art deco leanings, the new

DM series are quite straightforward in the

looks department with a nicely matching

brushed finish.

The DM-1B ships with a foam-lined alu-

minum road case, and the DM-1S and

DM-1T ship in a foam-lined cardboard

box. Each mic comes with a screw-on

drum mount as well as a mic clip, and

they’re all built to withstand the rigors of

percussive recording, including acci-

dental stick hits and bumps.

Similar to the guitar-focused Halo

mic, the DM models are task-specific

and are laser-focused on recording the

elements of a drum set. While they’re

designed to work hand in glove, the

DM mics are sold separately and cur-

rently not sold as a kit. This allows you

to purchase the correct number of mics

tailored to your own needs.

Boom boom!

Let’s start with the kick drum. The DM-1B

is a cardioid condenser microphone with

20 Hz to 20 kHz frequency response, a

6mV/Pa - 45 dB ±1 dB sensitivity, a <200

ohm impedance, a maximum SPL of 155

dB and a self-noise of 14.0 dBA. Internally

it has a 27mm diaphragm in a 32mm cap-

sule, which is suspended in a rubberized

internal shock mount.

Externally the DM-1B has a 51/ "2

body (XLR jack to the top) with a 23/ "4

diameter. This mic does not ship with a

mic clip or shock mount, because it

comes attached to a large vintage-style

yoke connected with set screws, allow-

ing it to swivel and lock for easy place-

ment. The DM-1B also features a

recessed –15 dB pad switch.

Sonically it is a very full-range con-

denser mic that has not been overly

scooped or pre-tailored in the mids for

kick drum use like many dynamic kick

mics. It also has a surprisingly crisp and

airy top end. On the kick, this results in a

very full even sound across the spectrum

with a very big bottom end. It also grabs

the upper beater hits well, and does not

sound pinched or muffled on top.

If you are used to many of the pre-tuned

kick mics on the market, the DM-1B may

take a bit of getting used to. Any scoop-

ing, shaping and EQing will take place at

the board or in the DAW. I used it on both

a 20" and a 22" kick drum and it did

well on each; the two words that stand

out are “huge” and “natural.”

I found it well suited to the sound hole of

the kick, where it offered a nice balance of

hit and boom. The outside of the resonant

head was my favorite use, yielding a vibey

boom perfect for exaggerated and even

vintage-flavored kick drum sounds, well-

suited for many indie rock and alt folk

styles. Up by the beater on the batter head,

it was less suited to my tastes, as its high

end and mids captured too much beater

attack and sounded too “thwappy,” for

lack of a better description.

One thing I really appreciated was that

unlike many condenser mics, when

placed in the sound hole I did not experi-

ence any plosive overload caused by the

air rushing out of the port. I am convinced

that this is because unlike a typical large-

diaphragm condenser, where the capsule

is often only 1/4" from the grille, the cap-

sule in the DM-1B is set back about 11/ "4

from the grille, so the air gusts have a

chance to dissipate a bit.

B Y P A U L V N U K J R .

Sontronics

DM-1B, DM-1S, and DM-1T Drum Microphones

...and a look at the STC-1 condenser mic, too!

Excerpted from the January edition of RECORDING Magazine 2015

5408 Idylwild Trail, Boulder, CO 80301 Tel: (303) 516-9118 Fax: (303) 516-9119

For Subscription Information, call: 1-954-653-3927 or www.recordingmag.com

RECORDING MAGAZINE January 2015 edition. Sontronics drum mics reviewed by Paul Vnuk © Music Maker Publications Inc

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The DM-1B is a fantastic bass cabinet mic

and here its full-spectrum condenser nature

really shines. It captures the subsonic lows

beautifully while grabbing the mid honk of

the strings, but never sounds overhyped.

Having said that, this is not a multi-

purpose condenser, and when trying it on

other sources it just sounds (to put it blunt-

ly) weird. Only here does it become

apparent that there is some sonic tailor-

ing going on for kick and bass sources.

On things like vocals or guitar, its top end

is slightly harsh and spitty and its

midrange slightly pinched. All in all,

that’s OK... this isn’t a vocal or guitar mic,

it’s a kick or bass mic, and at those tasks

the DM-1B does a great job.

Thwack thwack!

Moving to the snare, the DM-1S is a

small sized pencil condenser, 31/2" long

by 7/8" wide, with a 30 Hz to 20 kHz

response, an 8mV/Pa - 42 dB ±1 dB sen-

sitivity, a <200 ohm impedance, a max

SPL of 135 dB, and a Self-noise of 14.0

dBA. It has a 24mm capsule and a

recessed –10 dB pad switch.

The DM-1S is the most sonically carved

of the three mics and the most focused for

its intended use. It has a very subdued

low end in terms of proximity effect and

boom. Its mids and highs are open and

quite real, and it captures the crack and

harmonics of the snare well, both over

and under the drum.

For most rock players, I found it essen-

tial to engage the pad to avoid clipping.

With the pad disengaged, it makes a

nice intimate mic for delicate stick and

especially brush work, well suited to jazz

and nuanced playing.

This is one of the most source-specific mics

I have ever used. Beyond snare applica-

tions, I found only a few uses for it, such as

on the head of a doumbek, where it high-

lighted the crack and finger work nicely.

Thud thud!

The tom-focused DM-1T is similar in

every way to the DM-1S from looks to

specs; you will need to look at its

engraved model number to tell it apart. It

differs tonally in that it opens the “faucet”

a bit more on the low mids and lows, and

also highlights the upper mids. This shap-

ing makes it well suited to the hit, thud,

and sustain of most toms.

It’s still not a full-range pencil condenser

like the Sontronics STC-1 (see the sidebar),

but unlike the DM-1S it does have broad-

er uses. The DM-1T works well on percus-

sion such as congas, bongos, tabla,

bodhrán, and the like.

The trio in use

Taken as a set, the DM series mics work

together well. Unlike many dynamic drum

mics, the Sontronics condensers tilt heavily

toward openness and realism vs. focus

and vibe. This is a strength if you have an

impeccably-tuned drum kit and the music

style is suited to realism and openness. The

downside is that as cardioid condensers,

all three mics pick up everything—reso-

nance, ring, rattle, and the bleed of the the

other drums and the cymbals.

On classic R&B, minimal rock, jazz,

and similar styles in a decent tracking

room, this is not much of a problem.

However, I did find it problematic in live

situations, as well as on louder styles of

music like punk, prog, and metal in the stu-

dio. Bleed—not only of the other drums,

but the other instruments as well—was an

issue, even when gating the signal, as the

ambience change was noticeable.

On toms, the supplied mic mounts work

great. They allow for a nice choice of

angles to help balance the initial hit with

the drum’s tone. However, on the snare I

found the clip awkward to place; it was

necessary to use a regular mic stand or dif-

ferent clip mount, as the supplied mic clips

are too high for the snare drum and could

get in the way of the hi-hat and high tom.

Conclusion

These are well-built and useful mics that

work well together. They are a tad style-

specific, as mentioned, but really that’s the

hallmark of using cardioid condenser mics

on a drum kit vs. dynamic mics. If you can

only afford one of the trio to begin with, go

for the DM-1B. It’s great for huge natural

kick tones with a nice sound of its own, and

it’s also killer on bass cabinet.

Prices: DM-1B, $399; DM-1S and DM-

1T, $175 each

Product specificaties

Merk:	Sontronics
Categorie:	Microfoon
Model:	DM-1T

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