Earthworks DrumMic DM20 User manual

User’s Guide
DM20
DrumMic™
Tom & Snare Microphone

Made in U.S.A.
Earthworks, Inc. • 37 Wilton Rd. • Milford, NH 03055
603-654-2433 • www.earthworksaudio.com
email: [email protected] • Printed in U.S.A.
DM20
with RM1 RimMount™
DM20 DrumMic™
for Toms & Snare
Minimum output load
1,000Ω, balanced
between pins 2&3
Noise
Weight
11.12 inches (282.44mm)
.55lb (
.25k
g)
Frequency response
Polar Pattern
Cardioid
Sensitivity
8 mV/Pa (-42dBV/Pa)
Power requirements
24-48V Phantom @
1
0mA
Peak acoustic input
1
50dB SPL
50Hz to 20kHz +2dB @ 6” (15cm)
Signal-to-Noise Ratio
Output
XLR (PIN 2+)
Output Impedance
Gooseneck L & D
74dB A-weighted
200Ω bal. (between pins 2& 3)
Length 4.75 inches (120.65mm)
20dB (A-weighted)
Diameter .375 inches (9.53mm)
DM20
Polar
Response
Dimensions L & D
.860 inches (22mm)

Congratulations on your purchase of the Earthworks®DM20 DrumMic™
Tom & Snare Microphone(s). When using this microphone on your toms and
snare, you will hear more detail in the attack in addition to hearing subtle
details that you have never heard before using conventional microphones.
You will walk into a whole new world of pristine drum sound using the DM20
DrumMic™ High Denition Microphone™. After reading this manual, if you
have any unanswered questions, please email or phone us using the con-
tact information on the back cover of this manual. First, identify all the items
that came with your DM20 to verify that you have received everything listed
below.
Included with DM20 Tom and Snare Microphone
1 – DM20 DrumMic™ for Toms & Snare
1 – RM1 Drum RimMount™ for DM20
1 – PW1 Foam Windscreen
1 – User’s Manual
IMPORTANT NOTICE - Please Read This
The DM20’s High SPL Handling and Lower Output Level
The DM20 has been designed for close miking toms and snares with
high SPL handling of 150dB and a reduced output level. In most cases
the DM20 will not require the use of a pad to prevent overloading the in-
put of outboard microphone preamps, or the mic preamp inputs on mix-
ers, consoles or computer audio interfaces. The majority of these units
will accommodate high microphone levels at the preamp input without
distortion. However, the more sensitive units may not handle high mic
levels at the preamp input and may require the use of a pad to prevent
the preamp from distorting. We encourage you to check the specica-
tions of your preamp, mixer, console or computer audio interface to ver-
ify that the microphone preamp input will accommodate high levels of
approximately +20dBV.
Different Types of Preamp Input Pads
Some outboard preampliers, mixers or consoles may have a built-in mic
preamp pad that can be switched in or out. However, on some models
these pads are not attenuators that precede the preamplier input and
just reduce the gain of the preamplier itself. Unless these preampliers
will handle a high input level (i.e.+20dBV) these so called pads will typ-
ically provide no preamp input overload protection from microphones
with high output levels (see Fig. 1-A).
1
Version 2, April 22, 2019

2
Some out-board preamps, mixers, consoles or computer audio interfaces
have actual pads that precede the preamplier input. These types of pads
will provide preamp input overload protection that is needed (see Fig. 1-B).
Such pads will typically provide –10dB or –20dB attenuation. If an exter-
nal XLR type mic pad is needed, Earthworks offers a LevelPad™ which
provides -20dB of attenuation and is simply plugged into the microphone
cable. The DM20’s lower output level, in most cases, should not require
an external pad when close-miking toms or snares.
Earthworks Drum Mics
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 Earthworks® advanced proprietary technologies.
Many drummers such as Jeff Campitelli with Joe Satriani, Steve Gadd,
Keith Carlock, Ronnie Vannucci, Anton Fig, Anthony King and many top
FOH engineers touring with major artists are using Earthworks High De-
nition Drum Microphones™ for overheads, toms, snare and kick drum
with exceptional results.
The DM20 is a new generation of Earthworks tom and snare micro-
phones. It features a stable gooseneck for easy positioning that will
stay in place even when the drums are played very hard. It also can
handle high acoustic sound levels up to 150dB SPL. The Earthworks
proprietary polar technology provides a stunning amount of rear re-
jection and a frequency response out to 80 degrees off-axis within 3dB
of the on-axis response. This vastly reduces phase cancellations, min-
imizes the pickup of unwanted sounds at the rear of the microphone
and provides significantly more gain before feedback for live sound
applications.
Figure 1-A and 1-B Types of Preamp Input Pads
AB
This so-called pad, is not really a pad, it only
changes the gain of the preamp, and may 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.

3
Earthworks High Definition Microphones™
the New Science in Microphones
David Blackmer, the brilliant engineer who invented the innovative
technologies of dbx, is also the inventor and founder of Earthworks.
In the last few years of his life, David developed a number of revolu-
tionary technologies that dramatically improve the sound quality and
performance of microphones. In short, Earthworks High Definition
Microphones™ pick up sounds more accurately and with more detail
than conventional microphones. These dramatic improvements are in
the areas of impulse response, diaphragm settling time and advanced
polar technologies. Those who have heard Earthworks High Definition
Microphones™ say they have more rear rejection and more gain before
feedback in addition to hearing more detail of the attack, more subtle
detail from low level signals thereby providing a more pristine sound
quality than any conventional microphones can provide, regardless of
price.
Miking Drums
There are many ways to mic drums and it seems that most every record-
ing or live sound engineer has their own way of doing this. Our objective
is not to indicate which drum miking approach is better, but to make sug-
gestions and look at the 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
microphone on most or all the elements of a drum set. Typically, sep-
arate mics are used on snare, toms, hi-hat and kick drum, along with
one or two overhead microphones. The overhead mics pick up the
overall sound of the drum set including cymbals (which are typically
not miked separately). By this method, the mixing engineer can control
the level, and signal processing (limiting, 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 hi-hat, snare, etc. Multi-miked drums are desirable
for live sound, providing more control and increased gain before feed-
back, and when recording in a large room with high ambient sound this
reduces the amount of unwanted room sound and provides greater
control of the drum mix.

Earthworks Near-Perfect Polar Response
One of Earthwork’s proprietary technologies is near-perfect polar re-
sponse i.e. very uniform response over the front 160º of the micro-
phone. Conventional microphones (even expensive ones) have a loss
of high frequencies at the sides of the microphone. Have you ever tried
to put three singers on a single directional microphone? The singer at
the front of the mic sounds great, but the two on the sides of the micro-
phone sound muffled due to the lack of high frequency pickup at the
sides of the microphone. In contrast, the Earthworks proprietary po-
lar technology provides virtually the same frequency response on the
sides of the microphone as at the front with no more than a 3dB loss
at any specified frequency out to 80º off-axis). This extremely uniform
frequency response at the front and sides of the microphone dramati-
cally reduces phasing issues when using Earthworks microphones. Refer
to Figure 2 A & B to see how uniform the Earthworks microphone (A)
polar response is, in comparison to the conventional microphone (B).
4
A
DM20 Polar Conventional Polar
Earthworks SR30 Cardioid
500
1K
2K
4K
8K
15K
Competitive Cardioid
500
2K
15K
10K
1K
20K
5K
500
1K
2K
4K
8K
15
B
Within 3dB
500Hz to
16kHz
Within 12dB
500Hz to
15kHz &
Within18dB
to 20kHz
Figure 2-A & 2-B Earthworks vs. Conventional Polar Response
Nearly Twice the Amount of Rear Rejection
Another disadvantage of the multi-microphone approach is picking up
the unwanted sound of other elements of the drum set from the rear of
each microphone. Earthworks cardioid microphones have a very high
rejection of sounds at the rear of the microphone. This greatly re-
duces the leakage of cymbals or other drum sounds at the rear
of Earthworks microphones. Conventional microphones provide only
about 18dB of rear rejection, while Earthworks microphones provide
nearly twice the amount of rejection of conventional microphones. The
Earthworks drum mics will nearly eliminate any leakage present at
the rear of the microphone. Figure 3 shows conventional drum micro-
phones with 18dB of rear rejection and Figure 4 shows the Earthworks
drum microphones with nearly double the amount of rear rejection.

5
Figure 3
Approximately 18dB of Rear Rejection Using Conventional Drum Mics
Competitive
Microphones
Approx 18dB
Rear Rejection
Figure 4
Nearly Twice the Amount of Rear Rejection Using Earthworks Drum Mics
Earthworks
Microphones
Nearly Double
the Amount of
Rear Rejection

6
Close Miking Toms and Snares with the
DM20 DrumMic™ Microphones
Inserting the DM20 Microphone into the RM1 RimMount
The RM1 is designed specifically for the DM20 allowing you to mount
the microphone on the side of a tom or snare. The RM1 can also be
used on the top or bottom of a tom or snare.
It is suggested that you insert the DM20 microphone into the RM1 Rim-
Mount™ prior to attaching the RimMount™ to the drum.
The suggested procedure to insert the DM20 microphone into the
RM1 RimMount is shown in Figure 5. First, place the mic head and the
gooseneck into the rubber holder from the bottom of the RimMount™
(2). Push on the body of the microphone from the bottom (XLR connec-
tor end) to move the microphone up inside the rubber holder (3 & 4).
The fit will be firm, so you will need to apply a little pressure to move
the microphone body up into the rubber holder.
Mounting the RM1 RimMount™ to the Drum
The RM1 RimMount™ is designed for metal drum rims, and will not
work on wooden drum rims. Attaching the RimMount to the drum rim
is quite easy. While reading this section, please refer to Figure 6-A,
which shows the various elements of the RimMount™. First, loosen the
thumbscrew so there is more than enough space for the Delrin® cush-
ioned rim-guide to clear the bottom of the drum rim. Then determine
where on the drum rim you want to place the microphone and then put
the top “hook portion” of the RimMount bracket over the desired place
on the drum rim.
Figure 5 Inserting the DM20 DrumMic™ into the RimMount™
1 2 3 4

7
Referring to Figure 6-B, notice that on the Delrin® cushioned rim-guide
there are two sets of grooves. One groove is in the “center” of the rim-
guide (1), while the other groove (2 & 3) is “off center” (or closer to
the edge of the rim-guide). These two sets of grooves provide you with
“three” mounting options: (A) using the “off center” rim-guide groove
will place it closest to the drum shell, (B) or rotating the “off center”
groove 180 degrees will place the rim-guide furthest away from the
drum shell, and (C) the “center” groove will allow placement between
the positions (A) and (B).
Various types of metal drum rims have the bottom flange of the rim
either closer or further from the drum shell. One of the three positions
(A, B or C previously mentioned) will allow the RimMount™ bracket to
be mounted parallel to the drum shell. Position the rim-guide so the
bottom edge “flange” of the drum rim fits comfortably into one of the
RM-1 rim-guide grooves. This will ensure that the cushioned rim-guide
remains securely in place as you tighten the thumbscrew to firmly se-
cure the RM-1 to the drum rim. The soft protective Polyolefin® coating
on the RimMount™ bracket will prevent the possibility of scratching the
drum shell finish.
Soft Polyolen® Coated
Metal Bracket
Rubber
Holder
Delrin®
Cushioned Rim-guide
Hook Portion
of Bracket
Thumbscrew
Figure 6-A. Elements of the RM1 RimMount™
Figure 6-B Positioning the Cushioned Rim-guide
Centered
Groove
1
Offset Groove
Positioned
on Left
Offset Groove
Positioned
on Right
23

8
Adjusting the Microphone Height
Once the RimMount™ is mounted securely on the drum rim with the
DM20 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 gooseneck will provide a good amount of lat-
itude in positioning the microphone head from any microphone body
height. Adjusting the height of the DM20 microphone body is indicated
in Figure 7-A and 7-B.
Positioning the Microphone Head
Once the DM20 microphone height has been set, you can position
the microphone head. It is suggested that the microphone head be po-
sitioned between 1.5 inches and 3 inches above the drumhead. The flex-
ible 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 8-A. Then, Figure 8-B shows how the microphone head can
be aimed more toward the center of the drum head by changing the
position of the gooseneck. Keep in mind that the microphone head
should never be placed “parallel” to the drumhead, but should always
be at “an angle” to the drumhead. This will prevent the microphone di-
aphragm being forced to its backplate which could cause an unwanted
pop or thump in the live sound or recording system.
Figure 7-A and 7-B Adjusting the DM20 Microphone Height
AB

9
The High Acoustic Sound Levels of Close Miked Drums
In close miking drums, one should keep in mind that the acoustic sound
level at the microphone head is extremely high. Microphones used for
close miking drums should be able to handle at least 140dB SPL in
order to prevent audible distortion. The DM20 DrumMic™ handles up
to 150dB SPL. With these high sound pressure levels, the DM20 mi-
crophone output level may be as much as +15dBV which may over-
load some types of microphone preamplifier inputs. If so, Inserting the
Earthworks XLR type LP20 LevelPad™ into the microphone cable will
provide -20dB of attenuation to help prevent any distortion or overload.
For more information, please refer to the “Different Types of Preamp
Input Pads” section on pages 1 and 2 of this manual.
Close Miking Snare Drums with the DM20
The DM20 has been optimized for miking toms and snare. With its fre-
quency response of 50Hz to 20kHz, it will provide a full and fat sound
from your toms and a nice crisp sound from your snare. If you feel that
there is too much low frequency response when miking a snare, use ei-
ther a high-pass lter set somewhere between 60Hz and 100Hz or a low
frequency equalizer (EQ) to attenuate (i.e. cut) a few dB in the area of
60Hz to 100Hz for the desired results.
Figure 8-A & 8-B Positioning the Microphone Head
AB

10
The DM20 can be used on either the top drumhead, bottom drumhead
or both. Figure 9-A shows the DM20 placed over the top drumhead of a
snare, while Figure 9-B shows a snare drum with both the top and bottom
heads miked.
Close Miking Toms with the DM20
The extended low frequency response of the DM20 DrumMic™ will pro-
vide a rich and full tom sound. You can mike either the top or bottom
head of a tom with the DM20 as indicated in Figure 10 A or B, or you can
mike both the bottom and top drumheads in a similar fashion as shown
on a snare in Figure 9-B.
You will notice in Figure 10-A that the microphone head is placed closer to
the drum rim, while in Figure 10-B the microphone head is aimed toward
the center of the drumhead by changing the position of the gooseneck.
Experiment with the microphone head placement as the sound or tone
can change with various placements.
Earthworks High Denition Microphones™ are widely used successfully by
drummers with major artists in both recording sessions and for live perfor-
mance. The DM20 is designed to withstand the rigors of the road and will
provide you with many years of exceptional and reliable results. We know
that when you use the Earthworks DM20 DrumMics™ for your recording
and live performances you will be thrilled with the results.
Figure 9-A and 9-B Miking the Top or Top & Bottom of a Snare
AB

11
We are pleased to welcome you to our ever-growing family of drummers
and sound engineers using Earthworks High Denition Microphones™ for
recording and live sound.
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 microphone 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, feel
free to contact Earthworks directly using the contact information on
the back cover of this manual and don’t forget to register your warranty
information on the Earthworks website, (see information below).
Figure 10-A and 10-B Miking the Top Head of a Tom
AB
EARTHWORKS WARRANTY
All Earthworks
®
products carry a limited warranty (parts and labor). Please
register your warranty at: earthworksaudio.com/register
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 119.

12
NOTES: