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Titolo: China Drum Microphone - OEM Drum Microphone Manufacturer

China Drum Microphone - OEM Drum Microphone Manufacturer
Drum Microphone WebSite Link:
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China GuangZhou TianTuo Microphone Manufacturing Co., Ltd WebSite:
http://www.chinese-microphone.com/
Microphone Products are: Wireless Microphones, Conference Microphones,
Headset Microphones, and Lapel Microphones, interview microphones,
wired microphones, musical instrument microphones, drum microphones,
teaching microphones, recording microphones, computer's USB
microphones and microphone accessories and So on.
Preamplifier arrangement for a drum microphone - Patent 20070160235
Login or Create Free Account Search Go to Advanced Search Home |
Search Patents | Data Services | Help Title: Preamplifier arrangement
for a drum microphone Publication Date: 07/12/2007 Document Type and
Number: United States 
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Patent 20070160235 Kind Code: A1 Abstract: Preamplifier arrangement
for a drum microphone, in which drum the microphone is arranged inside
the drum and wherein the microphone is connected to a preamplifier,
characterized in that the preamplifier (6) is secured to the side wall
or bottom of the resonance chamber (1) of the drum via a mounting
arrangement comprising a threaded part (7), which is fastened to the
preamplifier and fitted through a hole (4) in the side wall or bottom,
and a counterpart (8) for it. Inventors: Raisanen, Heikki (Muurame,
FI) Application Number: 11/639359 Filing Date: 12/14/2006 View Patent
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generation Primary Class: 381/118 Other Classes: 381/113 International
Classes: H04R3/00; G10H1/00 Attorney, Agent or Firm: KATTEN MUCHIN
ROSENMAN LLP (575 MADISON AVENUE, NEW YORK, NY, 10022-2585, US)
Claims: 1. Preamplifier arrangement for a drum microphone, in which
drum the microphone is arranged inside the drum and wherein the
microphone
 is connected to a preamplifier, characterized in that the
preamplifier (6) is secured to the side wall or bottom of the
resonance chamber (1) of the drum via a mounting arrangement
comprising a threaded part (7), which is fastened to the preamplifier
and fitted through a hole (4) in the side wall or bottom, and a
counterpart (8) for It. 2. Arrangement according to claim 1,
characterized in that the threaded part has an open Interior cavity,
allowing the connection cable of the microphone to be fitted through
it. 3. Arrangement according to c 
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laim 1, characterized in that the microphone is a strip-like electret
microphone. 4. Arrangement according to claim 3, characterized In that
the microphone is an electret bubble film microphone. Description: The
present invention relates to a preamplifier arrangement for drum
microphones. In particular, the invention relates to a solution for
connecting a microphone arranged inside a drum to a preamplifier.
BACKGROUND OF THE INVENTION Traditionally, the microphones used with
drums have been ordinary microphones,which have been mounted beside
the drums by means of a special holder designed for this purpose. A
drawback with these arrangements is especially the fact that such a
microphone is very sensitive to receive other sounds, too, from around
the drums. In addition, they are difficult to install, and the
microphone impedes the drumming and is susceptible to damage. Drum
microphones placed inside drums are also known. A drum microphone of
this type Is disclosed in specification DE 4122316 , which describes a
microphone designed to be fitted inside a drum and secured inside the
drums by means of a mounting part fitted in a hole provided on the
side of the resonance chamber of the drums. The microphone connection
cable leading to the amplifier is then plugged into a connector in the
mounting part Also known in prior art are strip-like electret
microphones, e.g. B-Band's DST transducer, which is a so-called
electret bubble film transducer, mounted inside a drum e.g. below the
membrane, at the upper edge of the resonance chamber. Microphones
fitted inside drums effectively prevent extraneous noise from getting
mixed with
the drum sound to be passed to the amplifier. In drum microphones, the
sound is then passed to a separate amplifier placed outside the drum
and comprising a preamplifier, which adapts the drum signal for other
amplifier stages e.g. for loudspeakers or recording. A drawback with
existing amplifier arrangements is their complicated structure and
especially the fact that the preamplifier is mounted separately from
the drum. BRIEF DESCRIPTION OF THE INVENTION The object of the present
invention is to overcome the drawbacks of prior-art solutions and to
solve the problems by using a new type of preamplifier arrangement,
wherein the preamplifier Is 
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secured to a hole provided in the side of the resonance chamber of a
drum. A side wall of the resonance chamber is typically pre-provided
with a few holes, permitting air to flow out of the resonance chamber,
The present Invention makes use of these holes so that the
preamplifier can be secured to such a hole by means of a screw-like
mounting part with an open interior cavity, thus simultaneously
ensuring that air can flow out from the resonance chamber through this
mounting part. In a preferred embodiment of the invention, the
transducer membrane used is an electret bubble film microphone, the
connection cable of which is passed through the mounting arrangement
of the invention. The features of the preamplifier arrangement of the
invention for a drum microphone are presented in detail In the claims
below. The invention makes it possible to produce a very simple drum
microphone preamplifier structure fitted to a drum, allowing the
preamplifier to be easily integrated in the drum. BRIEF DESCRIPTION OF
THE FIGURES In the following, the invention will be described in
detail by referring to an example and the attached drawings, wherein
FIG. 1 presents the drum preamplifier arrangement of the invention in
an installed state, and FIG. 2 presents an exploded view of the drum
preamplifi
er arrangement of the invention. FIGS. 1 and 2 present a drum having a
cylindrical resonance chamber 1 and a drum membrane 3 fitted to it by
means of fastening parts 2 . The side wall of the resonance chamber is
provided with holes 4 permitting the flow of air through them. Fitted
in 
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 side the
drum is an electret bubble film microphone 5 , which is connected to a
preamplifier 6 by a connection cable. The preamplifier 6 is secured to
the side of the resonance chamber by means of a mounting part, which
comprises a screw part 7 having an open interior cavity and provided
with an external thread, the screw part being pushed through a hole
4 , and, as a counterpart for the screw, a nut 8 fitted inside the
resonance chamber, by means of which parts the preamplifier can be
secured to the side wall of the resonance chamber. The connection
cable from the microphone to the preamplifier is passed through the
screw part 7 . From the preamplifier, the sound of the drums is passed
to other amplifier stages via an amplifier connection cable 9 . The
hole 4 may be provided with a small bush 10 , through which the screw
is passed. It is obvious to a person skilled in the art that different
embodiments of the invention are not exclusively limited to the
examples described above, but that they may be varied within the scope
of the claims presented below. The invention can also be applied for
use with other than electret bubble film microphones. Previous Patent:
Microphone with voltage pumpNext Patent: Audio signal encoding device,
audio signal decoding device, and method and program thereof Copyright
2004-2007 FreePatentsOnline.com. All rights reserved. Contact us.
Privacy Policy &amp; Terms of Use.
Wholesale Drum Microphone

China Drum Microphone - OEM Drum Microphone Manufacturer
Drum Microphone WebSite Link:
http://www.chinese-microphone.com/Drum-Microphones.html
China GuangZhou TianTuo Microphone Manufacturing Co., Ltd WebSite:
http://www.chinese-microphone.com/
Microphone Products are: Wireless Microphones, Conference Microphones,
Headset Microphones, and Lapel Microphones, interview microphones,
wired microphones, musical instrument microphones, drum microphones,
teaching microphones, recording microphones, computer's USB
microphones and microphone accessories and So on.
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Cards Violins Mic'ing A Drum Kit on a Budget Introduction In the past
mic'ing a drum kit has always been made out to be an expensive and
complicated procedure. Well you can do it on a budget and get very
good results too! Scenario We're i
n the studio and have a 5 piece shell kit to mic up (Kick, Snare, Tom
1, Tom 2, Tom 3 + cymbals). We can't afford to splash out on 8 odd
mic's to capture each component of the drum kit (i.e. Each drum, hi-
hat mic and a pair of overheads), that would get very expensive very
quickly let alone all the extra outboard we would need to employ in
order to keep spill from one mic to the other to a minimum... We're
talking thousands! Solution It's possible to record great drums with
the bare minimum of fuss, and a bare min 
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imum of equipment and here's how. We need to get down to the bare
basics and decide what's essential to capture from the drum kit in
modern music... what's essential in the mix and what's not so
important. Let me tell you now that the key factor that a listener
will want in a recording is to be able to distinguish the base of all
the rhythm. The main rhythm composed within modern music is within the
Kick and the Snare only anything else is just the extra icing on the
cake and is not as relevant. It's important that these two components
are dominant in the mix therefore each has it's own microphone. You do
not need to splash out on expensive microphones to get a great sound
from these two components in the drum kit. There are budget
microphones on the market which are brilliant and require very little
to make them sound as good as expensive microphones; your common
everyday Joe is not going to know the difference between two if you
were to have expensive microphones on the kick and snare... the
difference is barely audible to the common ear. It takes sound
engineers years of training their ears to the subtle nausiances and
harmonics within a tone to recognise differences as small as this. The
rest of the kit can be picked up easily too in one go via the use of a
single overhead condenser microphone or if your budget can stretch to
it and you want a stereo image... two overhead condenser microphones;
for the purpose of this article I will refer to them as a pair of
condensers. The condensers will pick up all your toms, cymbals and a
 bit of overspill from the snare etc. but this is the key part of
it... the condensers would have already picked up all those sounds and
ambience to a level which is not overpowering the rest. You generally
do not want the toms high up in the mix, they are subtle additions to
any mix which once put together fits perfectly. Microphone Choice Kick
Drum: JTS NX-2/AKG D112/Shure PG52 Snare Drum: JTS NX-6/Shure PG56
Overheads: JTS NX-9/Shure PG81 or similar back electret small
diaphragm condenser You may notice my favour to the JTS NX range of
microphone &ndash; They're suburb and are probably one of the cheapest
http://www.chinese-microphone.com/Drum-Microphones.html
  microphones
on the market... yet they excel all the other microphones listed.
Think Shure Beta series quality but without the price tag and you've
got it! Technique There is definitely an art behind getting a good
drum sound exactly how you want it to sound, a great deal of it is
learnt through experimentation but this should get you off to a good
start. Kick Drum: Place some dampening material into the chamber of
the drum to soak up excessive resonance. For a tighter sound place the
microphone closer to the batter head, for a more resonant
&ldquo;loose&rdquo; sound place the microphone further from the batter
head. If you're recording a heavy metal sound for instance it is
likely you want a &ldquo;clicky, tight but boomy sound&rdquo; - to
achieve this get the microphone as close to the batter head as
possible and aim it towards where the beater head lands on the batter
head &ndash; you can then process the recorded sound in post-
production with a multi-band compressor and get the sound exactly how
you want it... tight, crisp but punchy! Snare Drum: For a tighter
&ldquo;snappier&rdquo; sound have the microphone aimed towards the
edge of the rim and also closer to the head. For a looser and deeper
sound aim the
 microphone across the head of the drum, distance the microphone more
from the top of the skin for further &ldquo;looseness&rdquo; and
ambience. Experimentation is the key here in particular &ndash; play
around with microphone positioning until you find a sound which s
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 uits you!
Overheads: The key here is to imagine the drum kit as two squares next
to each other so as to form a rectangle. You want to make sure that
the microphones are exactly in the centre of these two squares so as
to capture their own part of the kit. The higher you raise the
overheads the more ambience and sibilance you will capture, the closer
to the cymbals the more &ldquo;beef&rdquo; and &ldquo;grunt&rdquo;
you're going to capture from the kit... again... experimentation is
the key here until you find what's right for your particular mix.
Conclusion Regardless of what techniques you employ and how much you
have your technique perfected &ndash; you can't polish a turd. For
instance if the drum kit has not been correctly tuned, and then not
even dampened. Before you begin recording it is essential that you
listen to all of the drum kit separately in detail, tune it correctly,
and apply damping techniques where necessary via the use of moon gel/
gaffa tape/tissue. Start with a good sound and then you can take it to
the next step.Good luck and have fun! About the Author This article
was written by the team at Rose Morris Musical Instruments. For more
info on a wide range of audio products as well as guitars and amps
visit 
http://www.proaudiostore.co.uk
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