Capture pure, high-definition sonics from your drum toms with Tom Mic from Lauten Audio, the world's first large-diaphragm mic designed specifically for toms. With a supercardioid pattern and dual-bias FET circuitry for up to 28 dB of off-axis noise rejection, you'll only capture the nuances of your drums, avoiding cymbal bleed.
Capture pure, high-definition sonics from your drum toms with Tom Mic from Lauten Audio, the world's first large-diaphragm mic designed specifically for toms. With a supercardioid pattern and dual-bias FET circuitry for up to 28 dB of off-axis noise rejection, you'll only capture the nuances of your drums, avoiding cymbal bleed.
The frequency response has been specially tailored for rack and floor toms, enabling you to focus on your positioning rather than excessive EQ in post, and squeezing maximum impact out of your toms. But when you want to go for a specific sound at the source, two three-way filter switches serve your needs, offering two high-pass and two low-pass filters to choose from. And with a solid-brass headframe and mildew-resistant internal filter, your mic will survive dust, debris, and countless stick hits for years to come. The Tom Mic includes an articulated swivel mount for convenient placement and a Cordura-padded carrying bag.
Toms, Not Cymbals
Lauten Audio's bleed-blocking head design and dual-bias circuitry work together to provide the Tom Mic with up to 28 dB of off-axis rejection. This means crisp, clear tom sounds with far less cymbal bleed than a traditional dynamic or condenser microphone.
Super-Powered Supercardioid Capsule
Whether stand or rim-mounted, the Tom Mic's newly designed supercardioid capsule is hand-tuned and vibration resistant to ensure a powerful balance of transient, body, and tone while minimizing inharmonic overtones from neighboring drums and tuning inconsistencies.
Find Your Place
Because of its unique design, the Tom Mic is ideal for a wide array of placement positions. From the slap and isolation of proximity to the lifelike sonics of separation, each placement position offers a wealth of new sonic possibilities. It's also great on resonant heads as well.
Switch It Up
The Tom Mic's filters impact the overall performance of the microphone and play a critical role in its overall sonic versatility.
Flat high cut: the mic's frequency response boosts from 1 to 2 kHz, dips sharply at 3 kHz for snap, then rises around 5 kHz for smack and attack. Sensitivity is also reduced from 9 through 14 kHz to minimize the sizzle and harshness of cymbal bleed.
12 kHz high cut: reduces perceived attack from overly bright tom strikes for a slightly rounder and more balanced note. This setting is also helpful for bringing up the perceived body of a floor tom while further reducing bleed from the surrounding cymbals.
5 kHz high cut: minimizes bleed in harsh environments while preserving the essential impact and tone of a tom. This setting allows you to reintroduce presence and attack through post-EQ without accentuating unwanted high-frequency elements.
Flat low cut: allows all low-frequency information generated by a rack or floor to pass through the Tom Mic's dual-bias circuitry unaltered.
80 Hz low cut: gently reduces low-frequency buildup while improving perceived clarity from each note. This setting enables toms to stand out in a mix without sacrificing density and low end.
140 Hz low cut: significantly reduces low-frequency buildup while enhancing the perceived impact and clarity of each note. This setting is particularly useful in close-mic applications where toms need to assertively cut through a dense mix with precision and clarity.
