Earthworks DP30C User manual

DP30/C
Frequency response
Polar Pattern
Cardioid
Sensitivity
1
0mV/Pa (-40dBV/Pa)
Power requirements 48V Phantom,
1
0mA
Peak acoustic input
1
45dB SPL
Output XLR (PIN 2+)
Minimum output load
600Ω, balanced
between pins 2&3
Noise
22dB SPL (A weighted)
Dimensions L x D
Weight
30Hz to 30kHz +2dB@1’
1
0.75 x .860 inches
(275mm x 22mm)
.22lb (
1
00g)
Made in U.S.A.
Earthworks, Inc.
37 Wilton Rd.
Milford, NH 03055
603-654-6427, ext. 14
www.earthworksaudio.com
Printed in U.S.A.
DP30/C

Congratulations on your purchase of the DP30/C Earthworks Drum Periscope
Microphone(s). After reading this manual, if you have any unanswered ques-
tions, please email or phone us using the contact information on the back
cover of this manual.
First, identify all the items that came with your DP30/C to verify that you
have received each of the items listed below.
Included with DP30/C Tom and Snare Microphone
1 – DP30/C Drum Periscope™ Microphone
1 – PW1 Foam Windscreen
1 – Users Manual
1 – Case with foam insert
IMPORTANT NOTICE - Please Read This:
Use of the LevelPad™ - The DP30/C microphones have a high output level,
which may overload the preamps of some mixers or consoles. Many outboard
microphone preampliers and preampliers in mixing consoles will handle as
much as +24dBv at the microphone input, without distortion. We suggest that
you check the “maximum preamp input level” specications of your mixer or
preamplier to see if it will accommodate signal levels this high. Some mix-
ers and preamps will not handle levels this high at the microphone input. To
prevent overload, please use an Earthworks LP1530 LevelPad™ in the micro-
phone cable feeding each Drum Periscope Microphone.
Some mixer or outboard preampliers may have a pad that can be switched in
or out. However, some of these pads are not attenuators that precede the pre-
amplier input, instead they only reduce the gain of the preamplier. These (so
called) pads will provide no input overload protection from high level microphone
signals (see Fig. 1-A). In contrast, other outboard or mixer preampliers have
actual pads that precede the preamplier. These types of pads will provide the
input overload protection that is needed (see Fig. 1-B). Such pads will typically
provide –10dB or –20dB attenuation. However, due to the very high output level
of the Drum Periscope™ microphones, -10dB or even –20dB may not be enough
attenuation when close miking snares or toms with DP30/C Drum Periscope™
Microphones.
(continued on next page)
Version 5, June 1, 2012 2
NOTES
13

In any case where the pad does not actually precede the preamplifier, or
the pad does not provide enough attenuation, the Earthworks LP1530 Lev-
elPad™ can be used and will provide either –15dB or –30dB of attenuation.
The LevelPad™ comes housed in a stainless steel tube with gold-plated XLR
connectors on each end. As the LevelPad™ is inserted in the mic line, it will
always precede the preamplifier input. It makes no difference if the Level-
Pad™ is either inserted at the microphone, or somewhere in the middle of the
mic line, or by plugging the LevelPad directly into the preamplifier input. The
most popular practice is to plug the LevelPad™ into the preamplifier input,
which makes it more accessible to switch the attenuation settings (-15dB or
–30dB) if required. Figures 2-A, 2-B and 2-C show how the LevelPad can be
inserted into the microphone line in one of three ways as indicated below:
3
Figure 1-A and 1-B Preamp Input Pads
A. B.
This so-called pad, is not really a pad,
it only changes the gain of the preamp,
and will not prevent overload of the
preamp input.
This is an actual microphone preamp
pad, which is an attenuator that will
reduce level prior to the preamp input.
Figure 2-A LevelPad™ inserted at the microphone base
Figure 2-B LevelPad™ inserted in the microphone cable
for live performance. The DP30/C Drum Periscope Microphones™ will provide
you with years of exceptional and reliable results and will withstand the rigors of
the road. We welcome you to the ever-growing number of drummers and sound
engineers using Earthworks High Denition Microphones™.
We know that when you use the Earthworks High Denition Drum Periscope Mi-
crophones for your recording and live performances you will be thrilled with the
results. We are pleased to welcome you to the ever-growing family of profession-
als using Earthworks High Denition Microphones™.
We hope the suggestions in this manual have been benecial to you. Don’t be
afraid to experiment with mic placement. You can be as creative with your mic
placement as you are with your music. You are the judge of what works best and
sounds best.
If you have any questions, or require any additional information, please do
not hesitate to contact Earthworks using the contact information on the
back cover of this manual.
FIFTEEN-YEAR WARRANTY
All Earthworks
®
products carry a 15-year limited warranty (parts and labor). If you
have any problems with your Earthworks products, please contact our warranty/
repair department by email at: [email protected] or by telephone at
[phone], ext 19.
12

DP30/C TomMic™ as indicated in Figure 8 or you can also mike the bottom, or
top and bottom of a tom in a similar fashion as shown on a snare in Figure 7-B.
You will notice in Figure 8-A the microphone head is placed closer to the drum
rim, while in Figure 8-B the microphone head is moved closer to the center of
the drumhead by changing the position of the mini-ex gooseneck.
The DP30/C High Denition Drum Periscope Microphones™ have been used suc-
cessfully by drummers with major recording artists in both recording sessions and
11
A. B.
Figure 7-A and 7-B Miking the Top or Top & Bottom of a Snare
A. B.
Figure 8-A and 8-B Miking the Top Head of a Tom
4
Earthworks Drum Microphones
The Earthworks DrumKit™ High Denition Three-Microphone Systems have
had great success because they pick up drum sounds with far more detail and
accuracy than conventional microphones. This improved sound quality is due to
proprietary advanced technologies utilized in Earthworks High Denition Micro-
phones™.
Many drummers such as Je Campitelli with Joe Satriani, Keith Carlock with
Steely Dan, and FOH engineers such as Randy Lane with Dream Theater, were
using Earthworks High Denition Microphones™ for overheads, and kickdrum
with exceptional results. They then wanted the same exceptional sound qual-
ity from their snare and tom mics. With the introduction of the DP30/C micro-
phones, they were able to get the same pristine, detailed sound on their toms
and snares as they were from their Earthworks High Denition drum overhead
and kick-drum mics.
We worked with major artists for nearly two years developing and eld testing
the DP30/C High Denition tom and snare mic. During the development phase,
we miked a set of drums with nine Earthworks High Denition Microphones
(including our new DP30/C tom and snare mics) and for comparison, we also
miked the same drum set with nine industry’s favorite drum mics. When vet-
eran engineers heard the dierence between these two recordings, they made
the comment that the improvement was so dramatic, it didn’t even sound like
the same set of drums. They all agreed, “the increase in detail and sound qual-
ity was astounding.”
Figure 2-C LevelPad™ inserted into mixer mic input
CAUTION: Plugging the LevelPad into the mic input
of a mixer can cause damage to the mixer input con-
nector if the LevelPad receives a hard push to the
side. However, if your are careful, placing the Level-
Pad at the mixer mic input will provide greater ease
of use in changing the LevelPad attenuation switch.

The DP30/C was designed specifically for snare and toms that features a
flexible mini-gooseneck for easy positioning in addition to a high acoustic
input level that can handle up to 145 dB SPL. The Earthworks patented polar
technology provides excellent rear rejection and a uniformity of frequency
response out to 90 degrees off-axis. This vastly reduces phase cancellation
or other phasing issues, and minimizes cymbal leakage as well as acoustic
feedback problems in “live sound” applications.
Earthworks High Definition Microphones™
the New Science in Microphones
David Blackmer, the brilliant engineer who invented the unique technolo-
gies of dbx, is also the inventor and founder of Earthworks. In the last few
years of his life, David developed a number of revolutionary technologies that
dramatically improve the quality and performance of microphones. In short,
Earthworks High Definition Microphones™ will pick up sounds and detail that
other microphones cannot. These technological improvements are in the ar-
eas of impulse response, diaphragm settling time and polar technologies.
Those who have heard Earthworks High Definition Microphones™, say that
they hear more of the attack, more subtle details with a more pristine sound
quality than with any other microphones, regardless of price.
Miking Drums
There are many ways to mic drums and it seems that most every recording or
live sound engineer has their own way of doing so. Our objective is not to indi-
cate which drum miking approach is better, but to make suggestions and look at
advantages and disadvantages of each. Every engineer or producer uses their
own methods to obtain the results they desire, and that’s what matters.
Multi-microphone Method
The objective in multi-microphone drum miking is to place a separate mi-
crophone on either most or all the elements of a drum set. Typically, sepa-
rate mics are used on snare, toms, high-hat and kick drum with one or two
overhead microphones. The overhead mics pick up the overall sound of the
drums including cymbals, which are typically not miked separately. With this
method, the mixing engineer can control the level, and signal processing (lim-
iting, EQ, etc.) for each element of the drum set (toms, snare, hi-hat, etc.).
This provides a great deal of control over the sound of the entire drum set and
allows bringing out certain patterns on sock cymbal, snare, etc. Multi-miked
drums may be desirable when you are recording in a large room with high
ambient sound as it will reduce the amount of unwanted room sound, and for
5
Plug in the LevelPad, if Necessary
In close miking drums, one should keep in mind that the peak sound level at
the microphone head is extremely loud. Microphones used for close miking
drums should have a sound pressure handling capability of at least 140dB
SPL to prevent audible distortion. The Drum Periscope™ microphones will
handle up to 145dB SPL. However, as mentioned earlier, with this kind of high
sound pressure level, it is possible for the DP30/C microphone output level to
be as much as +24dBV which may overload some microphone preamplifiers.
The use of the Earthworks LP1530 LevelPad™ in the microphone line will pre-
vent any such distortion or overload. So, to be safe, we suggest that you first
plug a LevelPad into the mic line feeding the Drum Periscope microphone.
For full information refer to pages 3 and 4 of this manual.
Close Miking Snare Drums with the DP30/C
As previously mentioned, when close miking drums with a DP30/C Drum Peri-
scope™ microphone, never position the microphone head parallel to the drum-
head. Always position the microphone head at an angle to the drumhead. It is
also suggested that the microphone head be positioned between 1.5 inches and
3 inches above the drumhead. All of the previous information in this manual
applies to both toms and snares when using a DP30/C Drum Periscope Micro-
phone.
The DP30/C Drum Periscope Microphone has been optimized for miking snare
and toms. The DP30/C has a frequency response of 30Hz to 30kHz. The 30Hz
low frequency response will provide a full and fat sound from your toms. Howev-
er, when miking snares, the low frequency response of the DP30/C my make the
snare sound “tubby”. If you feel that there is too much low frequency response
when miking a snare, use either a high-pass lter set somewhere between 60Hz
and 100Hz to reduce the DP30/Cs low frequency response, or a low frequency
equalizer (EQ) to accomplish the same thing by attenuating/cutting a few dB in
the area of 60Hz to 100Hz for the desired results.
The DP30/C Drum Periscope Microphone™ can be used on either the top drum-
head, bottom drumhead or on both. Figure 7-A shows the DP30/C on a snare
drum with the microphone placed over the top drumhead, while Figure 7-B
shows a snare drum with both the top and bottom heads miked.
Close Miking Toms with the DP30/C
The DP30/C TomMic™ has been optimized for miking toms with a low frequen-
cy response down to 30Hz. This extended low frequency response will provide
a rich and full tom sound. You can mike either the top head of a tom with the
10

9
the drumhead, but should always be at “an angle” to the drumhead. This will
prevent any possibility of the diaphragm being forced to the microphone back
plate which could cause an unwanted pop or thump in the sound or recording
system. The flexible mini-gooseneck will allow you to move the microphone
head either up or down above the drumhead as well as in and out from the
drum rim. You can also change the angle of the microphone head as shown
in Figure 6-A and Figure 6-B shows how the microphone head can be moved
more toward the center of the drum by changing the positioning of the mini-
gooseneck.
A. B.
A. B.
Figure 5-A and 5-B Adjusting DP Microphone Height
Figure 6-A and 6-B
Positioning the
Microphone Head
live sound will provide more gain before feedback as well as a greater control
of the drum mix.
No Phase Cancellation Issues
with Earthworks™Microphones
One of the typical disadvantages in the multi-microphone approach, when
using conventional microphones, is interactive microphone phasing problems
that result in the cancellation of certain frequencies. These phasing prob-
lems are a result of the poor polar response of conventional microphones.
Conventional microphones have a drastically different frequency response
between the front and sides of the microphone. It is common for conventional
microphones to have a loss of 10 to 20 dB at high frequencies on the sides of
the microphone. This is why you cannot place three singers on a conventional
microphone, the one in front of the mic sounds great, but the two on the sides
have a dramatic loss of quality. These drastic changes in high frequency
response on the sides of the microphone cause phase differences, which are
the root cause of phase cancellations when using conventional microphones.
In contrast, Earthworks has a patented polar technology that provides our
microphones with virtually the same frequency response on the sides of the
microphone as at the front (no more than a 3dB loss at any frequency out
to 90º off-axis). This extremely uniform frequency response at the front and
sides of the microphone will virtually eliminate any phasing issues when using
Earthworks microphones. In addition, Earthworks cardioid microphones have
a very high rejection of sounds at the rear (back) of the microphone. This
characteristic will greatly reduce the leakage of cymbals or other sounds
at the rear of Earthworks microphones.
Close Miking Toms and Snares with the
DP30/C Drum Periscope Microphones
Inserting the DP30/C Microphone into the RM1 RimMount
The RM1 Rim Mount is designed specifically to house the DP30/C and pro-
vide a mechanism to mount the microphone on the side of a snare or tom.
The RM1 will allow you to mount a DP30/C on either the top or bottom of a
snare or tom.
It is suggested that you insert the DP30/C microphone into the RM1 Rim-
Mount™ prior to attaching the RimMount to the drum. To insert the DP30/C
microphone into the RM1 RimMount™ just place the mic head and the mini-
gooseneck into the rubber holder from the bottom of the RimMount. Then
push the body of the microphone from the bottom (XLR connector end) to
6

move the microphone up inside the rubber holder. The fit will be firm, so you
will need to apply a little pressure to move the microphone body up into the
rubber holder. The suggested procedure is illustrated in Figure 3.
Mounting the RM1 RimMount to the Drum
The RM1 RimMount is designed for metal drum rims, and will not work on
wooden drum rims. While reading this section, please refer to Figure 4-A,
which shows the various elements of the RimMount™. Mounting the Rim-
Mount to the drum rim is quite easy. First, unscrew the thumbscrew so there
is more than enough space for the Delrin® cushioned rim-guide to clear the
bottom of the drum rim. Then determine where on the drum rim you want to
position the microphone and then place the top “hook portion” of the Rim-
Mount bracket over the top edge of the drum rim. Referring to Figure 4-B,
notice that on the Delrin® cushioned rim-guide there are two sets of grooves.
One set of grooves is in the “center” of the rim-guide, while the other set of
7
Soft Polyolen® Coated
Metal Bracket
Rubber
Holder
Delrin®
Cushioned Rim-guide
Hook Portion
of Bracket
Thumbscrew
Figure 4-A. Elements of the RM1 RimMount™
Figure 3. Inserting the Drum Periscope™ Mic into the RimMount™
8
grooves are “off center” (or closer to the edge of the rim-guide). These two
sets of grooves provide you with “three” mounting options: (1) using the “off
center” rim-guide grooves will place it closest to the drum shell, (2) or rotat-
ing the “off center” grooves 180 degrees will place the rim-guide furtherest
away from the drum shell, and (3) the “center” grooves will allow placement
in-between the positions described in 1 and 2.
The various types of metal drum rims may have the bottom flange of the
rim either closer to the shell or further from the shell. Depending upon the
type of metal drum rim, one of the previously described three positions will
allow the RimMount bracket to be mounted parallel to the drum shell. The
soft protective Polyolefin® coating on the RimMount bracket will prevent the
possibility of scratching the drum shell finish. So position the rim-guide so
the bottom edge “flange” of the drum rim fits comfortably into one of the rim-
guide grooves. This will insure that the cushioned rim-guide remains securely
in place as you tighten the thumbscrew to firmly secure the RimMount to the
drum rim.
Adjusting the Microphone Height
Once the RimMount is mounted securely on the drum rim with the Drum Peri-
scope microphone housed in the rubber holder, the microphone body can be
moved either up or down in the rubber holder to provide the desired height.
Then the mini-gooseneck will provide a good amount of latitude in positioning
the microphone head from any pre-set microphone body height. Adjusting
the height of the Drum Periscope microphone body is shown in Figure 5-A
and 5-B.
Positioning the Microphone Head
Once the Drum Periscope microphone height has been set, you can position
the microphone head. The microphone head should never placed “parallel” to
Figure 4-B Positioning the Cushioned Rim-guide
Oset Groove
Positioned
on Left
Oset Groove
Positioned
on Right
12
Centered
Grooves
3