AUDIO-TECHNICA DRUM MICS

102
| FEBRUARY 2013 WWW.RHYTHMMAGAZINE.CO.UK
GEAR REVIEW
within its robust metal casing. The other
model is the ATM350 (suitable for snare or
toms). It is a unique microphone, which is
designed to be unobtrusive and able to fi t into
the tightest of spaces. This has a foam-
protected capsule at the end of a fl exi-mount
which attaches to the drum (or other
instrument) via its strong-sprung crocodile
clip. The microphone cable is permanently
attached but has a three-pin plug to
connect to its separate power module.
This comes with the now familiar low-cut
fi lter switch, houses the mic electronics
and is fi tted with an XLRM socket.
Hands On
Before taking the mics out in a live
environment, I conducted a few individual test
recordings – the results were impressive with
some great sounds on the snare and in
particular the kick. I also recorded some
cymbals with the low-cut fi lter set to ‘enable’
again – the results here were equally
impressive. Once I felt fully acquainted with
A
udio giant Audio-Technica (who
has recently celebrated its 50th
anniversary) initially began
manufacturing phono cartridges
for a number of companies, before applying
its expertise to a range of its own quality
audio products. It continues to produce a
comprehensive range of audio equipment for
the home, business, semi-professional and
professional markets with products which
include headphones, USB turntables and
microphones. I have three Audio-Technica
microphones for review; two are from
Audio-Technica’s Artist Series, while the other
model is from its Artist Elite series.
Build
Of the three review models, the largest here is
the dual-element ATM250DE, designed for the
kick drum – this features two microphone
capsules (a dynamic and a condenser),
encased in a single body. Often when two
mics are in close proximity, they can suffer
from ‘phase cancellation’ – this can cause a
thinning of the sound and sometimes an
audible swishing noise. Fortunately,
the electronics within the mic and
the angle of the capsules, (said to
be in “perfect phase”), helps
eliminate this problem.
On the mic body there are two
switches for the condenser portion – one
is a 10dB pad, reducing the output and
cutting the risk of overloading the capsule
with the likely-high sound pressure level
(SPL). The other switch is a low-cut fi lter or
bass roll-off – when this switch is aligned to
the ‘straight’ line (printed on the mic body),
the fi lter is off – when switched to the ‘bent’
line, fi ltering is enabled. Audio-Technica
supply a special ‘Y’ type lead with a fi ve
pin XLR plug at the mic end and two male
XLRs at the other. Both of these plugs are
clearly labelled and colour coded for the
two mic sources – red for dynamic and blue
for condenser.
The other two mics are purely condenser
models – with the AE3000 (aimed at toms or
snare) featuring a switchable low-cut and a
-10dB pad with an integral 3-pin XLRM socket
From £260 A selection of vastly different
microphones all suitable for drums and a
myriad of other musical applications
AUDIO-TECHNICA
DRUM MICS
WORDS: DAVE HOLMES
AE3000
Condenser mic
features switchable
low-cut and a -10dB pad
ATM250DE
Dual-element kick
drum mic features
two microphone
capsules encased in
a single body
RHY212.gear_at.indd 102 12/12/12 3:34 PM