Full Text Searchable PDF User Manual
High Quality Drum Microphones
MC770
DCB
‐
4
CMA
‐
4
DCT
‐
4
Read this first
Risk
of
damage
Please
make
sure
that
the
equipment
the
microphone
will
be
connected
to
fulfil
all
safety
regulations
in
your
country
and
is
fitted
with
a
ground
lead.
Connecting
your
microphone
The
microphone
provides
a
balanced
3
‐
pin
male
XLR
output
connector.
You
can
connect
the
microphone
either
to
a
balanced
or
an
unbalanced
microphone
input.
XLR
sockets
on
mixers
or
other
equipment
are
almost
always
balanced
microphone
inputs.
Please
use
a
high
quality
XLR
cable.
You
can
also
connect
the
microphone
to
an
unbalanced
jack
(mono)
input.
Use
a
cable
with
a
female
XLR
connector
and
a
1/4
inch
TS
jack
plug.
Don’t
use
cables
longer
then
5
meters/16ft,
because
unbalanced
connections
may
pick
up
interference
from
magnetic
fields
like
power
lines,
electric
motors,
dimmers,
to
avoid
hum
and
other
noise.
The
DCB
‐
4
and
DCT
‐
4
are
low
impedance
microphones
and
don’t
need
phantom
power.
The
CMA
‐
9
is
a
condenser
microphone
that
does
requires
phantom
power
(48v
DC).
The
DCB
‐
4
and
DCT
‐
4
will
not
be
effected
by
running
phantom
power.
Don’t
plug
or
unplug
your
microphone
from
your
equipment
unless
the
channel
volume
is
turned
down
fully
or
muted.
Cleaninge
Use
a
soft
cloth
to
clean
the
surface
of
the
microphone
body.
DCB-4 Dynamic Bass Drum Microphone
The
682DRUMS
DCB
‐
4
professional
dynamic
drum
microphone
for
stage
and
studio
usage.
With
a
frequency
response
of
40
Hz
–
13.5
kHz
and
the
capability
to
handle
extreme
sound
pressure
levels
of
up
to
144dB
without
distortion,
the
DCB
‐
4
is
an
excellent
choice
for
miking
low
frequency
instruments
such
as
kick
drum,
large
toms
and
bass
cabinets.
The
DCB
‐
4
has
a
uni
‐
directional
cardioid
polar
pattern
for
excellent
rejection
of
unwanted
sound
and
to
insure
high
gain
before
feedback.
The
durable
aluminium
‐
die
casting
housing
and
the
brazing
wired
mesh
‐
with
build
‐
in
windscreen
‐
are
made
to
resist
the
power
of
a
bass
drum.
The
microphone
adopts
a
standard
XLR
(male)
connector.
The
SHM1
shock
mount
that
goes
with
this
mic
uses
the
standard
thread
5/8"
or
3/8",
which
can
be
easily
assembled
with
different
kinds
of
microphone
stands.
The
shock
mount
system
minimizes
transmission
of
mechanical
noise
and
vibration
Characteristics:
Specific
for
low
frequency
response
Low
disturbance
when
impedance
varies,
high
gain
before
sound's
feedback
Low
noise,
high
SPL
endurable,
144dB
Fit
to
use
for
bass
drum,
floor
tom
and
the
sound
picking
‐
up
of
other
wide
dynamic
range
bass
instruments.
Technical
specifications:
Element:
Dynamic
Polar
Pattern:
Uni
‐
directional
cardioid
shaped
Frequency
Response:
40Hz
‐
13.5kHz
Sensitivity:
58
dBV/Pa,
(1.3
mV),
ref.
1
Pascal=94
dB
SPL
Output
Impedance:
250
Ω
±30%
(at
1kHz)
Max.
Input
SPL:144
dB
(at
1kHz
≤
1%
T.H.D)
Polarity:
Positive
pressure
on
diaphragm
produces
positive
voltage
on
pin
2
relative
to
pin
3
of
XLR
output
connector
Lenth:
145mm
DCT-4 Dynamic Snare and Tom Microphone
The
DCT
‐
4
is
a
professional
dynamic
drum
microphone
for
stage
and
studio
usage.
With
a
frequency
response
of
50
Hz
–
14.5
kHz
and
the
ability
handling
extreme
sound
pressure
levels
of
up
to
140dB
without
distortion.
The
DCB
‐
4
is
specially
developed
for
miking
snare
drums,
rack
toms,
floor
toms
and
congas.
The
DCT
‐
4
has
a
uni
‐
directional
cardioid
polar
pattern
for
excellent
rejection
of
unwanted
sound
and
to
insure
high
gain
before
feedback.
The
DCT
‐
4
microphone
is
made
of
a
durable
aluminium
‐
die
casting
housing
and
a
wired
mesh
grill
with
build
in
wind
screen.
The
SHM2
shock
mount
that
goes
with
the
DCT
‐
4
prevents
the
mic
picking
up
unwanted
noise
from
moving
toms
or
vibrations
from
the
stage
when
using
a
mic
stand.
The
microphone
adopts
a
standard
XLR
(male)
connector.
The
SHM1
shock
mount
that
goes
with
this
mic
uses
the
standard
thread
5/8"
or
3/8",
which
can
be
easily
assembled
with
different
kinds
of
microphone
stands.
Characteristics:
Specific
frequency
response
Low
disturbance
when
impedance
varies,
high
gain
before
sound's
feedback.
Low
noise,
high
SPL
endurable,
140dB.
Fit
to
use
for
snare
drum,
rack
toms,
floor
tom,
and
percussion
Technical
specifications:
Element:
Dynamic
Polar
Pattern:
Uni
‐
directional
cardioid
shaped
Frequency
Response:
50Hz
‐
14.5kHz
Sensitivity:
56
dBV/Pa,
(1.6
mV),
ref.
1
Pascal=94
dB
SPL
Output
Impedance:
250
Ω
±30%
(at
1kHz)
Max.
Input
SPL:140
dB
(at
1kHz
≤
1%
T.H.D)
Polarity
Positive
pressure
on
diaphragm
produces
positive
voltage
on
pin
2
relative
to
pin
3
of
XLR
output
connector
Length:
137mm
CMA-9 Condenser Microphone
The
CMA
‐
9
is
a
professional
condenser
microphone
used
for
stage,
studio
and
broadcast
applications.
The
CMA
‐
9
guarantees
a
clear,
accurate
response
and
flexibility
to
handle
close
or
distance
miking
for
a
wide
variety
of
acoustic
instruments.
With
a
frequency
response
from
25Hz
to
20kHz
the
DMA
‐
9
condenser
mic
is
an
excellent
choice
for
cymbals,
hi
‐
hat,
drum
overhead
and
ambient
room
miking.
The
microphone
adopts
a
25mm
pure
gold
large
diaphragm
capsule,
which
has
a
cardioid
polar
pattern.
The
CMA
‐
9
comes
with
a
strong
shock
mount
system
(SHM1)
that
minimizes
transmission
of
mechanical
noise
and
vibration
For
higher
sound
pressure
levels
the
pre
‐
attenuation
of
‐
10dB
can
be
applied.
With
the
build
in
Low
‐
cut
filter
(bass
roll
‐
off
filter)
you
can
reduce
picking
up
frequencies
from
150Hz.
The
durable
roadworthy
construction
of
the
CMA
‐
9
includes
the
brass
housing,
nickel
plated
surface
and
metal
mesh
grill.
Characteristics:
Adopting
low
noise,
transformer
free
Cardioid
polar
pattern,
high
sensitivity,
low
noise
and
wide
dynamic
range
Low
frequency
and
sensitivity
attenuation
switches
Metal
pop
filter
and
shock
mount
Durable
roadworthy
construction
Technical
specifications:
Element:
Ф
25
Pressure
Gradient
Transducer,
gold
large
diaphragm
capsule
Polar
Pattern:
Cardioid
Frequency
Response:
25Hz
‐
20kHz
Pad:
Reduces
the
input
level
by
10dB
(for
miking
extremely
loud
instruments)
Bass
Roll
‐
Off:
Cuts
off
low
frequencies
<
150
Hz
Sensitivity:
‐
37
dBV/Pa,
(14.1
mV),
ref.
1
Pascal=94
dB
SPL
Output
Impedance:
100
Ω
±30%
(at
1kHz)
Load
Impedance:
≥
1000
Ω
Max.
Input
SPL:132dB
(at
1kHz
≤
1%
T.H.D)
‐
S/N
Ratio:
78dB
Phantom
Power
Supply
Requirement:
9
‐
52V
phantom
power
Polarity:
Positive
pressure
on
diaphragm
produces
positive
voltage
on
pin
2
relative
to
pin
3
of
XLR
output
connector
Length:
142mm