The AKG C 518 M boasts incredible voicing which provides warmth and punch when micing drums and percussion instruments. Featuring a tight cardioid pickup pattern helping to eliminate unwanted bleed of other close instruments. It comes complete with a continuously adjustable vise-type clamp making it easy to fix the microphone securely on the top or bottom hoop of most drums or percussion instruments. The external shock mount provides high mechanical-noise rejection that may result from accidental rim hits while the internal shock mount protects from a direct hit of the microphone itself. The special included snap-on stabilizer knee will keep the gooseneck bent at a defined angle. The C 518 M features an integrated, switchable bass cut on the standard XLR end of the included connection cable for adjusting the microphoneâ€™s frequency response to your instrumentâ€™s sound. This feature proves to be very valuable in snare drum and small tom tom micing applications. Included Accessories: A 518 Stabilizer Knee H 518 Drum bracket Mini XLR to Standard XLR Cable (10 ft.) W 44 Windscreen Some guidelines for recording drums Miking a drum kit is all about knowledge and experience. Getting good results is hard work. As a minimum microphone setup we recommend to position two cardioid condenser microphones such as AKG C 414 B-XLS 32 to 48 inches (80 to 120 cm) above the drummerâ€™s head. If your budget permits, you can use this overhead pair for the cymbals only, cutting frequencies below 1 kHz on the EQ, and mic up the various drums individually as follows: Hanging and floor toms: Place the microphones very close to the perimeter of the head. Snare: Place the microphone extremely close-in, 1.2 to 2 inches (3 to 5 cm) above the top head. You may perhaps use an extra microphone directed at the snares from below, making sure to reverse its polarity. Hi-hat: Use a hypercardioid small-diaphragm microphone pointing away from the snare drum. Bass drum: Make sure to switch the preattenuation pad in (sound pressure levels may be as high as 160 dB SPL). Remove the front head and place the microphone inside the shell. The further you place the mic away from the rear head, the fatter the sound will be. Directing the microphone exactly at the point where the beater strikes the head may be less desirable as this will produce a dry click with virtually no bass content.
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