C AU D D DEMOIO INSIDE

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1 AUDIO DEMO CD INSIDE

2 HIGH DEFINITION MICROPHONES TM What is a High Definition Microphone TM? It is a microphone that will pick up sounds with far greater accuracy and fidelity than conventional microphones. The difference you hear is like the difference you see when comparing a standard television picture to a high definition television picture. It is that dramatic! Today s recording systems and recording media are getting better and better with higher sample rates and increased bit rates that provide extended frequency response, lower noise and greater dynamic range. The question is, are microphones capable of picking up sounds with increased bandwidth, lower distortion and with far greater detail? Most microphones available today only have high frequency responses reaching between 15kHz to 20kHz and are also not fully capable of supplying the increased detail and dynamic range. In contrast, David Blackmer, the inventor and engineering genius of the Earthworks and dbx core technologies foresaw our time. He realized that dramatic improvements in microphone design technologies were needed to replace some of the existing outdated ones. So, he invented a number of new technologies to dramatically increase the audible quality of microphones. Earthworks High Definition Microphones TM are not made like any other microphone on the market because they employ Blackmer s advanced microphone technologies. The audible results are startling! Let s look at some requirements needed to create advanced, higher quality microphones: REQUIREMENTS OF A HIGH DEFINITION MICROPHONE : Superior Impulse Response - will allow a microphone to pick up signals with fast transients and rise times (such as percussion, brass, guitar and piano) with incredible accuracy. Shorter Diaphragm Settling Time - will increase a microphone s ability to pick up subtle low-level sounds and transients. If the diaphragm is still vibrating from the sounds it picked up previously it will tend to mask or color many or all of the subtle sounds that follow. Extended Frequency Response - A number of studies have shown that acoustic sounds and overtones of musical instruments extend to beyond 100kHz. Studies also indicate that sounds beyond 20kHz greatly influence the overall quality of the sound we perceive. Minimum Signal Path - Minimum electronics provide a more pure and unaltered signal. Features such as switchable patterns, pads and hi/low pass filters tend to degrade the sonic qualities of a microphone. High SPL Handling at Low Distortion - Many microphones will create severe distortion above 120dB SPL. Higher quality microphones must have very low distortion up to and beyond 140dB SPL. This provides far cleaner signals when picking up high level transients from close miked or amplified instruments. Cable Length - Once a microphone has provided a pure signal with extended frequency response, it must get to the other end of a long cable without losses. High current, Class A amplifiers allow driving long cables at very high frequencies without signal loss or slewing. Near Perfect Polar Response the polar response of conventional microphones is poor over their operating frequency range. This causes beaming or spotlighting in addition to deteriorating frequency response with phasing problems on the edges of the polar pattern, resulting in phase cancellations and/or coloration in close multi-miking. Inferior polar response contributes to acoustic feedback. Near perfect polar response dramatically reduces these problems. 1 Those who have heard Earthworks microphones are astounded with what they hear. When using an Earthworks microphone, typical comments are: I hear details that I don t hear with other mics!, This is the best guitar sound, ever!, This drum sound blows me away., Unbelievable detail!, This is the best piano sound that ever came out of this studio!, You ll have to pry these mics from my cold, dead hands! and many more. Hear this difference for yourself by listening to the enclosed Audio Demo CD.

3 The low noise QTC Series (Quiet Time Coherent) microphones are superb for recording vocals, strings and distant miked choirs or orchestras. These low-noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments. These microphones capture astonishing detail with phenomenal accuracy. The QTC50 is our top of the line omni microphone that will capture sounds with incredible precision. Its unrivaled accuracy, impulse response and transparency make it the only choice for those seeking the very best in omni microphones. QTC50 3Hz - 50kHz 142dB SPL QTC Series QTC40 4 Hz - 40kHz 142dB SPL The QTC40 is a classic omni microphone that is a favorite among recording professionals. It is perfect for recording the accuracy and full detail of instruments in the studio yet robust and subtle enough to record bird sounds in the jungle. No recording facility should be without a pair of QTC40s in their microphone arsenal. The QTC30 is a real performer and an ideal choice where either smaller physical size or budget constraints are an issue. People often ask How much difference will I hear between a 30kHz, 40kHz or 50kHz microphone? To hear the differences for yourself, listen to tracks 28 through 39 on the enclosed Audio Demo CD. QTC30 6Hz - 30kHz 142dB SPL QTC Series models are also available in matched pairs or matched groups of any number Matched Pairs come in custom, handcrafted wooden boxes The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. I always carry a pair of QTC40s to recording sessions. Engineers usually respond with a frown, so I assure them that my QTC40s will give them a fantastic acoustic guitar sound, or we can change to their favorite mics. After hundreds of sessions, no engineer has ever changed mics after hearing the QTC40s. Ken Hatfield, guitarist, recording artist 2

4 The TC Series (Time Coherent) microphones will handle high SPL with a lower microphone output level which is less likely to overload the preamplifier. Models in the TC Series are often the choice for recording drum overheads, close miked or amplified instruments and sound effects. TC Series TC30 9Hz - 30kHz 150dB SPL The TC30 is a popular choice for recording as drum overheads and for close-miked acoustic instruments and amplified instruments. It is an excellent room mic for ambiance and for recording musical performances or rehearsals. Like all Earthworks omni microphones, it has very low handling noise, no proximity effect and is very forgiving in terms of placement. The TC25 was specifically designed to be a drum overhead microphone for the DK25/R DrumKit System. In addition, this microphone is ideal for miking instruments such as acoustic guitar, string instruments and piano. The TC25 is one of the more popular models in the Earthworks High Definition Microphone line. TC25 9Hz - 25kHz 145dB SPL TC20 10Hz - 20kHz 145dB SPL The TC20 is our least expensive general-purpose omni microphone. A pair of TC20s connected to a stereo recorder will provide exceptional results. The TC20 is a great choice for general purpose recording applications. TC Series models are also available in matched pairs or matched groups of any number Matched Pairs come in custom, handcrafted wooden boxes The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. 3 I have finally found microphones that truly capture the way my drums sound, even to the smallest detail. The Earthworks High Definition Microphones allow me to play with my own dynamics while hearing all of the nuances. You need to check these amazing microphones out for yourself! Keith Carlock, drummer, Steely Dan

5 The SR Series ( Microphones) have an incredible transparent sound quality, offering near-perfect polar response and high rejection of sounds at the rear of the microphone, resulting in less leakage and more gain before feedback. The SR Series microphones are real problem solvers for live sound and recording applications. The SR30 & SR30/HC are our premium cardioid and hypercardioid microphones. The optional stainless steel SRW2 is an attractive and functional screw-on windscreen that makes either model a perfect vocal microphone. The SR30 or SR30/HC are also great for drum overheads, toms, high hat and kick drum (with a KickPad ). J.R. Robbins (FOH Engineer for Steely Dan) says: The SR30 is the best microphone I have ever used on high hat. The SR30 is also a popular choice for wind and string instruments as well as amplified instruments. SR30 SR30/HC* Hypercardioid* 30Hz - 30kHz 1 45 db SPL SR Series SR25 50Hz - 25kHz 145dB SPL The SR25 was specifically designed to be a drum microphone for the DK25/L Live Performance DrumKit System. This microphone is ideal for drum overheads, snare and high hat. It can also be used on kick drum (with a KickPad ). The SR25 is a great choice for close miking other instruments such as acoustic guitar, string instruments and amplified instruments. The SR20 is a costeffective vocal microphone with the same patented offaxis accuracy (up to 90º either side) as with all other Earthworks cardioid microphones. You can have the same pristine sound quality at the front and sides of the microphone (even with three singers on the same mic) and more gain before feedback. Unscrewing the windscreen allows the SR20 to become a great instrument microphone for guitar, drums, brass, woodwinds and other instruments. SR20 50Hz - 20kHz 1 45dB SPL SR Series models are also available in matched pairs or matched groups of any number Matched Pairs come in custom, handcrafted wooden boxes The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. Using the SR30s on vocals we were consistently able to get a better overall mix, because of their incredibly smooth off-axis response. No longer do the cymbals bleed on small stages like it does using conventional mics. We received numerous compliments on the sound while using the SR30s on tour. Mark Schwartzkopf, FOH, Eisley 4

6 Earthworks FlexMic Series podium microphones offer superb sound quality with high intelligibility and incredible gain before feedback. Our patented polar technology allows an orator to move as much as 90 degrees off-axis and still maintain the same pristine sound quality. 5FlexMic Series FM720 (27 inches) FM720/HC * Hypercardioid * 50Hz - 20kHz 1 45dB SPL FM500 (19 inches) FM500/HC * Hypercardioid * 50Hz - 20kHz 1 45dB SPL FlexMics offer high intelligibility, low handling noise and uniform frequency response (on or off axis). They will handle high sound pressure levels with high rejection of sounds to the rear of the microphone and provide incredible gain before feedback. Orators can speak above, below or to either side of the microphone and maintain the same pristine sound quality with high intelligibility. Even in circumstances with three people on the same microphone you can hear all three with the same exceptional sound quality. FM360 (13 inches) FM360/HC * Hypercardioid * 50Hz - 20kHz 1 45dB SPL The FlexMics gooseneck will make no noise when it is repositioned and the entire length of the gooseneck is flexible. For those who desire a rigid center section that will flex only at both ends, you may choose between the FMR720 and FMR500 cardioid, or FMR720/HC and FMR500/HC hypercardioid models. The three available lengths and other options allow you to choose a FlexMic that is ideal for any application. PMM1 FlexMic Ring Mount for podium mic installation (see accessories page). FlexMics have been chosen for use in premium church installations, houses of congress, court rooms, political debates, corporate boardrooms, universities and other educational and governmental institutions. What I appreciate most about Earthworks FlexMics is their natural sound and transparency. More gain before feedback and a uniform pickup pattern are other admirable qualities of the FlexMic. Tony Yarbrough, Memphis Audio

7 Earthworks High Definition Microphones will provide a substantially better drum sound than conventional microphones. The DrumKit Series three-microphone systems provide a more cohesive and unified drum sound. For those who desire to mike the individual components of a drum set see our Drum Periscope microphones and CloseMic kits. DK25/R For Recording Two TC25s One SR25 KickPad The DK25/R omni microphones are exceptional for studio recording in a room with good acoustics. If your room acoustics are less than ideal, cardioid overheads will pick up less room sound (see DK25/L below). Many individuals using our three-microphone DrumKits say When I hear recordings of my drums, they sound like a drum set instead of a bunch of pieces. The DK25/L is the ideal three-mic choice for live performance or recording in less than ideal acoustic environments. The SR25 cardioid microphones cut off at 50Hz which is ideal for overheads and also for spot miking the snare and/or toms. Using SR25s will provide better control of individual mics when mixing. DK25/L For Live Performance Three SR25s KickPad DrumKit Series DK50/R For Recording Two QTC50s One SR30 KickPad Three LevelPads One SRW2 The 50kHz response of the QTC50s will provide a spectacular drum sound. It is stunning! The QTC50s incredible frequency response (3Hz to 50kHz) with exceptional impulse response and short diaphragm settling time delivers unbelievable results on drums and percussion. Listen to the DK50/R tracks 16 through 18 on the enclosed Audio Demo CD. DrumKit Series overhead models are matched pairs and the matched pairs are also available separately (not in a DrumKit ). The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. Some of the best recordings in the world were made with one, two or three microphones on the drums. Earthworks is now carrying on this tradition. With only the three High Definition Microphones in the Earthworks DrumKit System you can get a monster drum sound. Anton Fig drummer, Letterman TV Show 6

8 The Drum Periscope High Definition Microphones are designed for close miking toms and snare drums, and will take a direct hit from a drumstick. A right angle mic head is mounted to the gooseneck for easy positioning. The Drum Periscope is mounted parallel to the drum shell with the RM1 RimMount (see image in lower left-hand corner of this page). Drum Periscope Series The 145dB SPL capability of the DP30/C & DP25/C will not overload even from the loudest of drum attacks. The DP25/C is crisp and clean on snare without sounding tubby. It is also ideal for miking high hats or for use as drum overheads. It has a gold logo ring to quickly identify its use for snare, high hat or drum overheads. DP30/C TomMic 30Hz - 30kHz 145dB SPL The DP30/C is ideal for reproducing the rich low frequencies of toms while its fast impulse response will capture the full detail of the attack. It has a blue logo ring to quickly identify its use for toms. Hear the DP25/C SnareMic and DP30/C TomMic on tracks 22 through 27 on the enclosed Audio Demo CD. SMC1 DP25/C LevelPad RM1 Windscreen TMC1 DP30/C LevelPad RM1 Windscreen HD- SnareMic Combo The SMC1 is a High Definition Microphone Kit for one snare, which includes one DP25/C, RimMount, LevelPad, foam wind screen and carrying case. HD- TomMic Combo The TMC1 is a High Definition Microphone Kit with one DP30/C and accessories. RM1 Drum RimMount The RM1 will accommodate any of the Drum Periscope or Periscope microphone models (see drum illustration on left). DP25/C SnareMic 50Hz -25kHz 145dB SPL The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. The first time I heard Earthworks High Definition Microphones on drums was a revelation. The sound of the toms and snare was astounding. The details of the drum kit were startlingly apparent and they picked up a broad range of cymbals without hot spots or off-axis coloration. Randy Lane FOH, James Taylor, American Idol, Dream Theater 7

9 We were stunned when we first heard our DK25 DrumKits and even more stunned after hearing the DK50/R DrumKit. But when we heard an entire drum set miked with the FullKit s nine microphones, everyone s jaw went to the floor. Hear this for yourself on tracks 19 through 21 on the enclosed Audio Demo CD. CMK4 For Recording or Live Performance Three DP30/Cs One DP25/C Four LevelPads Four RimMounts Foam Windscreens The CMK4 consists of one DP25/C snare mic, three DP30/C tom mics, four LevelPads and four RimMounts. The rugged carrying case also has open slots to add two additional Drum Periscope microphones with RimMounts and two more LevelPads. The CMK5 consists of one DP25/C snare mic, four DP30/C tom mics, five LevelPads and five RimMounts. The rugged carrying case will safely house your microphones and withstand the rigors of the road. CMK5 For Recording or Live Performance Four DP30/Cs One DP25/C Five LevelPads Five RimMounts Foam Windscreens CloseMic Series DFK1 For Recording or Live Performance Two SR25s Two SR30s Two SRW2s One DP25/C Four DP30/Cs Five RimMounts Nine LevelPads One KickPad Foam Windscreens The Drum FullKit is the ultimate, and every drummer s dream. The nine FullKit microphones allow you to mike every piece of your entire drum set (2-OH, 1-hi-hat, 1-snare, 4-toms & 1-kick drum) with Earthworks High Definition Microphones and achieve an absolutely stunning drum sound. The FullKit includes everything in a CMK5 and more.to hear the ultimate drum sound for yourself, listen to tracks 19 through 21 on the enclosed Audio Demo CD. The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. The extended high frequency response of Earthworks High Definition Microphones gives a fantastic openness and clarity, which is perfect for Led Zeppelin s dynamic open drum sound. Big Mick Hughes, FOH Engineer Led Zeppelin & Metallica 8

10 The PianoMic System was designed to revolutionize piano miking and achieve an incredible improvement in piano sound for live and recording applications with no mic stands or booms. There is more gain before feedback, significantly less leakage from surrounding instruments and the same pristine sound quality with the piano lid either up or down. The PianoMics Revolutionary Technology Breaks all the Old Rules for Piano Miking. It s a Game Changer! PianoMic System Patent Pending PM40 Random Incidence Omnis 4Hz - 40kHz,148dB SPL The PianoMic has quickly become the microphone system of choice for miking grand pianos for live performance, recording studios and churches. Live piano performances on stage or in churches enjoy the best piano sound ever with incredible gain before feedback and no mic stands or booms. Recording studios can now record piano in the same room with other instruments with minimal leakage. The telescoping bar allows the PianoMic to be quickly and easily installed in nearly all grand pianos. Listen how the PianoMic performs in comparison to other popular piano miking methods on tracks 48 through 82. Random Incidence Microphones utilized in the PianoMic System are typically used for making highly accurate acoustical measurements in diffuse sound fields. A diffuse sound is defined as an environment where there are multiple sound sources with multiple reflections (which can be at the same or greater level than the source). The inside of a piano is a diffuse sound field: every string including the sound board is a sound source, each generating many reflections within the piano case. The Random Incidence omni microphones provide an incredible eveness over the entire range of the keyboard and will pick up the sound (sources & reflections) within the piano with incredible accuracy and fidelity. This is as good as it gets for piano miking. PianoMic Carrying Case Included The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. 9 I was amazed at how Earthworks PianoMic translated the sound of the piano with such faithful accuracy and unbelievable gain before feedback. I ve used almost every microphone and piano pickup on the market and the PianoMic is hands down the best microphone I have ever used on piano. It s a real game changer! Logan Patton FOH, Dave Grusin, Chaka Khan, Lou Ritenour & Earl Klugh

11 The Periscope Series was originally designed for stand-mounted choir microphones. However, recording and live sound engineers saw that the 4- inch flexible neck and small microphone head could be placed where conventional microphones could not. The Periscope microphone head can be repositioned using the mini-flex, without moving the mic stand or boom. P30/C 30Hz - 30kHz 145dB SPL The P30/C cardioid microphones are incredible as stand mounted choir microphones. Their near perfect polar response allows them to be placed closer to a choir with no spotlighting. The P30/C provides incredible gain before feedback while rejecting sounds from the rear of the microphone. For those who have a band or orchestra in front of a choir, the Periscope mics will pick up far less of the band or orchestra. These microphones are also an excellent choice for drum overheads, toms, acoustic bass, acoustic guitar and amplified instruments. Periscope Series The P30/HC hypercardioid microphones are the perfect answer for those applications requiring a tighter polar pattern that will pick up less from the sides of the microphone with high rejection of sounds from the rear. P30/HC Hypercardioid 30Hz - 30kHz 1 45dB SPL The Periscope Series microphones are technically the same as the SR30 & SR30/HC respectively, with a different body and the added feature of a mini-gooseneck. Periscope Series models are also available in matched pairs or matched groups of any number Matched Pairs come in custom, handcrafted wooden boxes The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. The sound of Earthworks mics are amazing and are the best find I ve made in 25 years. For three years I ve had these mics all over the world where high heat and humidity are common, they have been thrown in mic drawers and still work flawlessly every show. J.R. Robbins FOH Engineer Steely Dan 10

12 The ChoirMic Series of hanging choir microphones provide pristine audio quality without spotlighting and more gain before feedback while picking up almost no sound from the rear of the microphones. They are ideal for miking choirs with an orchestra or band in front of the choir. ChoirMic Series Most conventional hanging choir microphones are small with an unbalanced cable feeding an electronics box mounted in the ceiling. Such long unbalanced cables are highly susceptible in picking up unwanted RFI (radio frequency interference) in addition, the microphone is not heavy enough to pull the wire straight down (resulting in an unsightly appearance). Furthermore, air conditioning can blow on these small microphones causing them to move and change position. Humidity and/or temperature changes also cause these commonly used microphone cables to rotate thereby changing the positioning of conventional microphones. In contrast, Earthworks ChoirMics have the electronics housed in the microphone which provides enough weight to pull the cable straight down for a neater appearance. The ChoirMic also utilizes a 30 foot balanced, twisted pair star-quad cable to prevent RFI. In addition, microphone positioning is not affected by temperature and/or humidity changes. The mini-gooseneck allows the ChoirMic microphone head to be quickly and easily positioned without the use of springs or wire clips on the mic cable. C30/C C30/HC* Hypercardioid * 30Hz - 30kHz 1 45dB SPL The ChoirMic Series microphones are available in cardioid and hypercardioid models. The C30/C (cardioid) & C30/HC (hypercardioid) have the same specifications as our very popular SR30 & SR30/HC models which sound fantastic. The ChoirMic Series microphones are top of the line High Definition Microphones with frequency response from 30Hz to 30kHz. ChoirMic Series models are also available in matched pairs or matched groups of any number The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. When using Earthworks High Definition Microphones on choir, we immediately noticed a great improvement in clarity, sonic quality and presence of the choir in the mix. Because of these dramatic improvements, we have now begun to specify them for installations into churches with large choirs. Gene Pelland, Clair Brothers Systems 11

13 The FlexWand Series is the next generation beyond stick microphones. It is a High Definition Microphone, microphone stand and boom as an integrated unit, and, there are no visible wires above ground level. It is slick, neat and clean with a very low profile. FW730 FW730/HC* Hypercardioid* 30Hz 30kHz 145dB SPL Adjustable from 1.5 to 7 feet high The FlexWand is a High Definition Microphone, stand and boom integrated as a single unit, with no visible wires above ground level. It can be easily positioned straight up and down, or be used as a boom allowing the microphone head to be placed at any position between seven feet and one and one-half feet above the floor. When using the low profile FlexWand as a choir microphone, it is barely visible from the congregation. The pristine sound is incredible and there is a substantial improvement in gain before feedback. The near perfect polar response of the FlexWand allows the use of fewer microphones on choir, with better sound quality, no spotlighting and incredible rejection of sounds from the rear of the microphone. This is ideal where bands or orchestras are placed in front of a choir, as the FlexWand will reject much of the sound of the band or orchestra. The 12 lb. base will not allow the FlexWand to be accidentally knocked over. The FlexWand opens a whole new world of High Definition sound with an unobtrusive low profile stand and boom with no visible wires above floor level. All that is left is an incredible sound coming from microphones that you don t see. FlexWand Series XLR Connector Patent Pending Find the FlexWands in the above photograph. How many FlexWands do you see? (There are 6 FlexWands in the above photograph) The difference you hear when comparing an Earthworks High Definition Microphone to a conventional microphone, is like the difference you see when comparing a High Definition television to a conventional television. We absolutely love our new Earthworks FlexWands because of their high-quality sound, low profile, no visible cables and more gain before feedback. From the congregation, these mics are nearly invisible. Best of all, the sound quality of our choir is absolutely incredible. Franklin Denham, Highland Baptist Church, Meridian MS 12

14 The M Series has become the accepted standard for affordable, reliable reference and measurement microphones that are accurate in the time domain and frequency response. They are remarkably stable with respect to temperature and atmospheric conditions and are optimized for clean, very fast impulse performance providing accurate wideband response with vir tually no handling noise. The Earthworks M Series measurement microphones are used by SMAART, MLSSA, Spectrafoo, TEF and RTA in addition to acoustic measurement systems manufactured by dbx, DEQX and others. Measurement Microphones The M50 is our top of the line measurement microphone for those who require the very best. It is the microphone of choice for governmental, aerospace and specialized sound labs for making critical measurements with extended high frequency response. M30 5Hz - 30kHz 1 50dB SPL The M30 is our most popular measurement microphone and is widely used by acousticians, audio equipment manufacturers and sound consultants throughout the world. The M30BX is a 30kHz battery operated measurement microphone. Its output cable can be plugged directly into a sound card of most laptop computers making it ideal for measurements in remote locations. Microphone body opens for replaceable battery access, with a battery life of 300 hours M50 3Hz - 50kHz 1 42dB SPL M30BX 9Hz - 30kHz 1 30dB SPL M23 9Hz - 23kHz 1 42dB SPL The M23 is our economy model that is widely used for room measurements for recording facilities and acoustical room design and treatment. This model is widely used with SMAART measurement systems. M Series models are also available in matched pairs or matched groups of any number M50, M30 & M30BX matched pairs come in custom handcrafted wooden boxes ELECTRONIC CALIBRATION FILES Calibration files are available for ever y Earthworks measurement microphone for an extra cost. These files can be used to import the microphone s amplitude frequency response directly into your measurement system. 13 We use 27 Earthworks M30 microphones in our Acoustics Lab which have been turned on and operational 24 hours a day for over four years. They are extremely temperature stable, with minimal drift and very low noise. We highly recommend the M30s to anyone who wants a stable, reliable microphone for acoustic measurements. Ron Sauro, NWAA Labs

15 The ZDT preamplifier series is an exacting new standard providing frequency response from 1Hz to 200kHz +0.5dB, an incredible rise time of 0.27 microseconds and distor tion of less than1 par t per million (0.0001%) - eliminating all possibility of sonic degradation. It is like plugging your microphone into a piece of wire with gain. Many desire to purchase premium preamplifiers with a certain sound (tube sound, Neve sound, etc.). The ZDT preamps are for those who want no color and the sound of transparent or clear four channel PreAmps Zero Distortion - less than one part per million Lowest Noise of any preamp on the market Full Differential (balanced) from XLR in to XLR out no internal conversion to single-ended All Discrete Components in main signal path; Class A amplification (no ICs in the main signal path) Greater Transparency with minimum signal path and minimum features No Electrolytic Capacitors in the signal path High output level +33dBu Very Low Output Impedance will drive long lines without interference or signal loss True 48 volt phantom, polarity reverse & clip indicator Separate XLR & 1/4 Phone (t-r-s) outputs, each with its own gain/level controls. The1/4 Phone connector output will drive balanced or unbalanced inputs 1022 dual channel 1024 four channel 1021 single channel The Earthworks 1024 mic pre is as transparent and accurate as anything I ve heard. The sound is completely uncolored with a noise floor that is really on the floor. Tom Jung, Digital Music Products Inc. 14

16 Earthworks accessories are designed and manufactured with the most durable materials and exacting tolerances for maximum performance and long service life. SRW1 SRW2 SRW3 SRW4 OMW1 OMW2 Accessories Black Aluminum Windscreen for SR20, SR30 & SR30/HC PW1 Foam Teardrop Windscreen for Periscope & Drum Periscope Series mics. Stainless Steel Windscreen for SR20, SR30 & SR30/HC MC1 KP1 Standard Microphone Clip (QTC, TC, SR, M, Periscope & Drum Periscope Series mics) Foam Windscreen for all FlexMics, FlexWands & SR25s MC2 Shock mount Microphone Clip (QTC, TC, SR, M, Periscope & Drum Periscope Series mics) LP1530 Foam Windscreen for models SR20, SR30 & SR30/HC RM1 Drum RimMount for Drum Periscope & Periscope Series Mics ADP1 Foam Teardrop Windscreen for QTC, TC & M Series Mics PMM1 100 mph Foam Windscreen for QTC, TC & M Series Mics Podium Mount for FlexMic Series (all models) DK50/R-C KickPad Mic Level Kick Drum Processor LevelPad Switchable Mic Pad -15dB or -30dB 1/2 calibrator adaptor for all M Series measurement Mics Zero/Hallliburton Case for DK50/R with custom insert DK25/R-C DK25/L-C CMK-C DFK-C Aluminum Case for DK25/R with Custom Insert Aluminum Case for DK25/L with Custom Insert High-impact Case for CMK4 & CMK5 CloseMic drum mics Requires two High-impact Cases for FullKit DrumKit Mics (one CMK-C and one DFK-C) ECB1 EWB1 EWB2 EWB3 EWB4 EWB5 15 Cherry Box for 2 mics for QTC40, QTC50, TC30, M30, SR30 & SR30/HC Wood Box for 1 mic & windscreen for SR30, SR30/HC & SR20 Wood Box for 1 mic for QTC50, TC30, M50 & M30 Wood Box for 1 or 2 M30BX Mics Wood Box for 1 or 2 TC20, TC25, QTC30 & SR25 Mics Wood Box for 1 or 2 Periscope or Drum Periscope Mics

17 Impulse Response shows a microphone s ability to capture fast attacks and transients. On chart #1 see how much faster the Earthworks microphone responds to an attack than the more expensive conventional microphone on chart #2. Diaphragm Settling time If a microphone diaphragm is still vibrating following a sharp attack, it will mask or color the low level sounds that follow. After an attack, diaphragm settling time is indicated when the line returns a straight horizontal line. In graph #1 the Earthworks diaphragm settles in 70 microseconds, and the conventional microphone in graph #2 is still attempting to settle when the line goes off the chart. Polar Response determines a microphone s frequency response at any point around a 360-degree circle (zero degrees is the front, 90 & 270 the sides and 180 is the rear). Conventional microphones have a severe loss of high frequencies on the sides of the mic. These typical losses are indicated with red arrows on corresponding polar charts to your right. The conventional omni microphone (polar #4) has a loss of 18dB at 20kHz while the Earthworks omni microphone (polar #3) has a loss of only 4dB at 20kHz. The conventional cardioid (polar #6) shows a loss of 13dB at 15kHz and the Earthworks cardioid microphone (polar #5) has a loss of only 3dB at 15kHz. Each conventional microphone illustrated costs 3 to 4 times more than the comparative Earthworks microphone. QTC50 3Hz to 50kHz + 1/-3dB 30mV/Pa (-30.5 dbv/pa) 142 db SPL Dimensions L x D 9 x.860 inches (229mm x 22mm) Weight.5lb (225g) POLAR AND IMPULSE RESPONSE QTC40 4Hz to 40kHz + 1dB 30mV/Pa (-30.5 dbv/pa) 142 db SPL Dimensions L x D 9 x.860 inches (229mm x 22mm) Weight.5lb (225g) Earthworks QTC40 Earthworks SR25 QTC30 6Hz to 30kHz + 1/-3dB 30mV/Pa (-30.5 dbv/pa) 142 db SPL Dimensions L x D 6.25 x.860 inches (165mm x 22mm) Weight.35lb (160g) Impulse Respone and Diaphragm Settling Time Omni Polar Pattern Polar Pattern Conventional Microphone Conventional Microphone T E C H N I C A L S P E C I F I C A T I O N S TC30 9Hz to 30kHz + 1/-3dB 8mV/Pa (-42 dbv/pa) 150 db SPL Noise 27dB SPL (A weighted) Dimensions L x D 9 x.860 inches (229mm x 22mm) Weight.5lb (225g) TC25 9Hz to 25kHz +1/-3dB 8mV/Pa (-42 dbv/pa) 145 db SPL Noise 27dB SPL (A weighted) Dimensions L x D 6.5 x.860 inches (165mm x 22mm) Weight.35lb (160g) TC20 10Hz to 20kHz +2dB 8mV/Pa (-42 dbv/pa) 145 db SPL Noise 27dB SPL (A weighted) Dimensions L x D 6.5 x.860 inches (165mm x 22mm) Weight.35lb (160g) SR30 & SR30/HC 30Hz to 30kHz +1.5dB@6 & Hypercardioid 10mV/Pa (-40 dbv/pa) 145dB SPL Dimensions L x D 8.4 x.860 inches (212mm x 22mm) Weight.5lb (225g) SR25 50Hz to 25kHz + 2dB@6 10mV/Pa (-40 dbv/pa) 145dB SPL Dimensions L x D 6.5 x.860 inches (165mm x 22mm) Weight.35lb (160g) SR30/HC 90º SR30 16

18 SR20 10mV/Pa (-40 dbv/pa) 145dB SPL Noise Dimensions L x D Weight 50Hz to 20kHz +2dB@6 22dB SPL (A weighted) 8.4 x.860 inches (212mm x 22mm).3lb (135g) 238mm x 22mm (with windscreen) FM720 & FM720/HC or Hypercardioid 10mV/Pa (-40 dbv/pa) 145dB SPL Noise Dimensions L x D Weight 50Hz to 20kHz +2dB@6 22dB SPL (A weighted) 27 x.860 inches (720mm x 22mm).35lb (160g) FM500 & FM500/HC or Hypercardioid 10mV/Pa (-40 dbv/pa) 145 db SPL Noise 50Hz to 20kHz +2dB@6 22 db SPL (A weighted) Dimensions L x D 19 x.860 inches 500mm x 22mm Weight.3lb (135g) FM360 & FM360/HC or Hypercardioid 10mV/Pa (-40 dbv/pa) 145 db SPL Noise 50Hz to 20kHz +2dB@6 22 db SPL (A weighted) Dimensions L x D 13 x.860 inches (360mm x 22mm) Weight.3lb (120g) FM720/HC FM500/HC FM360/HC 90º 90º 90º FM720 FM500 FM360 M50 3Hz to 50kHz + 1/-3dB 30mV/Pa (-30.5 dbv/pa) 142 db SPL Dimensions L x D 9 x.860 inches (229mm x 22mm) Weight.5lb (225g) M30 5Hz to 30kHz +1/-3dB 30mV/Pa (-30.5 dbv/pa) 142 db SPL Dimensions L x D 9 x.860 inches (229mm x 22mm) Weight.5lb (225g) M30BX 9Hz to 30kHz +1/-3dB 30mV/Pa (-30.5dBV/Pa) 60mV/Pa (-24.5dBV/Pa) with 6dB gain 6V battery - P28 (2CR-1/3N) Lithium or 4 LR44 Alkaline (approx. 300 hours work time) 130dB SPL, 124dB SPL with 6dB gain XLR (PIN 2+) drives balanced Output or unbalanced input, drives most sound card inputs directly Dimensions L x D 8.65 x.910 inches (220mm x 23mm) Weight.4lb (180g) M23 9Hz to 23kHz +1/-3dB 30mV/Pa (-30.5 dbv/pa) 142dB SPL Dimensions L x D 6.25 x.860 inches (165mm x 22mm) Weight.35lb (160g) P30/C & P30/HC 30Hz to 30kHz +2dB@6 or Hypercardioid 10mV/Pa (-40dBV/Pa) 145dB SPL Minimum output load 600Ω, balanced between pins 2&3 Dimensions L x D x.860 inches (275mm x 22mm) Weight.22lb (100g) P30/HC C30/C & C30/HC 30Hz to 30kHz +2dB@6 or Hypercardioid 10mV/Pa (-40dBV/Pa) 145dB SPL Minimum output load 600Ω, balanced between pins 2&3 Dimensions L x D 11.5 x.860 inches (292mm x 22mm) Weight.22lb (100g) C30/HC DP30/C & DP25/C Freq. resp. DP30/C Freq. resp. DP25/C 30Hz to 30kHz +2dB@6 50Hz to 25kHz +2dB@6 10mV/Pa (-40dBV/Pa) 145dB SPL Minimum output load 600Ω, balanced between pins 2&3 Dimensions L x D x.860 inches (275mm x 22mm) Weight.22lb (100g) FW730/C & FW730/HC 30Hz to 30kHz +2dB@6 or Hypercardioid 10mV/Pa (-40dBV/Pa) 142dB SPL Positioning Range: From 1.5 ft to 6.5 ft above floor level Dimensions: Stand 7 2 long (2.18cm), Base 12 (30.48cm) in diameter, (2.7cm) high Weight Stand 2lbs (.9kg), Base 12.6lbs (5.7kg) FW730/HC 90º 90º 90º P30/C C30/C FW730/C , 1022 & 1021 Impulse response Distortion (all types) Enoise (input) EIN Slew rate 22V/µs Output DC offset Servo balanced to ±1 mv typical Power requirement Input Input impedence Outputs 2Hz to 100kHz +0.1dB, 1Hz to 200kHz +0.5dB 1% settling time - 1.4µs XLR out; less than 1 ppm (0.0001%); 1/4 out; 0.001% 1.6nV/Hz gain; 0.6nV/Hz 60dB -132dBV@20dB gain, -143dBV@60dB gain. 120V AC (100V, 240V versions available) XLR Female balanced transformerless 10Kohm phantom on, 100Kohm phantom off 2 XLR Male balanced transformerless (stepped) 2 1/4 TRS fem. (tip +, ring ref) transformerless (variable) Dimensions 1024, rack space 1.75 x 19 x (1021 is 1/2 rack space) Weight 1024, lb. (shipping: 10 lb.), 2.7 kg (shipping: 4.5 kg) 1021, 4lb. (shipping: 7lb.), 1.8 kg (shipping: 3 kg) A U D I O D E M O C D C R E D I T S Narrator: Michael Wheeler Produced by: Larry Blakely Comparison recordings recorded at Sixteen Ton Studios & Dan Penn Studios in Nashville, Tennessee, and LuckyK Studio in Pensacola, Florida. Track 1, Intro Music Sneaky Blues Yuri Naumov, album: Guitar Stories 2001 Yuri Naumov, Track 83, Musical Excerpts: Imagination Sara Goldenthal vocal & Ezra Rugg bass 1992 Limin Music Nets on Water Cindy Kallet, album: This Way Home 2000 Stones Throw Music The Sound of Love Chiara CiVello, album: Summa Cum Jazz BMG Direct Brandenburg Concerto Bay Chamber Concerts 2002 Sneaky Blues Yuri Naumov, album: Guitar Stories 2001 Yuri Naumov, Drum solo Chris Infusino 2009 Earthworks, Inc. Each comparative recording is a different performance, i.e. not the same performance recorded simultaneously with two sets of microphones. Consequently, variations in attack or strike velocity may be apparent. Each comparative NOTE: recording was made with identical microphone placement, in the same studio, the same day, with the same gain channels and no signal processing. All you will hear are the differences in the microphones High Definition Microphone Demo CD is copyrighted by Earthworks, Inc., and may not be copied without express permission of Earthworks, Inc.

19 A udio Demo CD Track List V-1 Drums DK25 Series DrumKit Systems DK25/R 1 Narration: Introduction to Earthworks High Definition Microphones and DK25/R omni DrumKit comparison 2 Drum Set recorded with 7 conventional microphones 3 Drum Set recorded with Earthworks DK25/R omni 3-mic DrumKit (TC25 overheads & SR25 on kick drum) DK25/L 4 Narration: DK25/L cardioid DrumKit comparison 5 Drum Set recorded with 7 conventional microphones 6 Drum Set recorded with Earthworks DK25/L cardioid 3-mic DrumKit (SR25 overheads & SR25 on kick drum) KickPad 7 Narration: Intro to KickPad 8 Kick Drum recorded with SR25 (with no KickPad ) 9 Kick Drum recorded with SR25 (with KickPad ) 10 Narration: Using KickPad with popular conventional kick drum microphones 11 AKG D112 (with no KickPad ) 12 AKG D112 (with KickPad ) SR25s as Drum Overheads 13 Narration: Improving drum sound with Earthworks High Definition Microphones as overheads 14 Drum Set recorded with 7 conventional mics using AKG 300Bs as overheads 15 Drum Set recorded with 5 of the same conventional lower mics and replace overheads with SR25s DK50 Series DrumKit System 16 Narration: Introduction to DK50/R omni DrumKit 17 Drum Set recorded with 7 conventional microphones 18 Drum Set recorded with DK50/R omni 3-mic DrumKit (QTC50 overheads & SR30 on kick drum with KickPad ) Drum FullKit System 19 Narration: Intro to Drum Periscopes, CloseMic Kits & Drum FullKits, compare 9 conventional mics to 9 FullKit mics on drums 20 Drum set miked with 9 conventional mics 21 Drum set miked with 9 Earthworks FullKit mics Drum Periscope Mics & CloseMic Kits 22 Narration: Introduction to Drum Periscopes and CloseMic Kits, compare snare drum miked with Shure SM57 to DP25/C 23 Shure SM57 on snare 24 DP25/C on snare 25 Narration: Compare tom miked with Sennheiser 421 to DP30/C 26 Sennheiser 421 on tom 27 DP30/C on tom Audible Advantages of Extended Frequency Response For Drum Overheads 28 Narration: Introduction to extended frequency response and drum OH comparison with 20kHz, 25kHz, 30kHz, 40kHz & 50kHz mics 29 TC20 (20kHz mics) as Drum Overheads 30 TC25 (25kHz mics) as Drum Overheads 31 QTC30 (30kHz mics) as Drum Overheads 32 QTC40 (40kHz mics) as Drum Overheads 33 QTC50 (50kHz mics) as Drum Overheads For Acoustic Guitar 34 Narration: Acoustic guitar comparison with 20kHz, 25kHz, 30kHz, 40kHz & 50kHz mics 35 TC20 (20kHz mics) on Acoustic Guitar 36 TC25 (25kHz mics) on Acoustic Guitar 37 QTC30 (30kHz mics) on Acoustic Guitar 38 QTC40 (40kHz mics) on Acoustic Guitar 39 QTC50 (50kHz mics) on Acoustic Guitar Instruments & Vocals Vocals 40 Narration: Vocal mic comparison 41 Neumann tube U47 on vocal 42 Neumann U87 on vocal 43 Earthworks QTC40 on vocal Acoustic Bass 44 Narration: Acoustic bass comparison 45 Royer R121 on Acoustic bass 46 Neumann U87 on Acoustic bass 47 Earthworks SR30 on Acoustic bass Piano Comparative Piano Recordings at Full-Stick 48 Narration: Introduction to piano miking and PianoMic with full-stick comparisons 49 Earthworks PianoMic Random Incidence omnis at full-stick 50 AKG C414 cardioids at full-stick 51 Audix SCX25 cardioids at full-stick 52 dpa 4011 cardioids at full-stick 53 B&K 4007 omnis at full-stick 54 dpa SMK 4061 omni microphone system at full-stick 55 Earthworks PianoMic Random Incidence omnis at full-stick Comparative Piano Recordings at Half-Stick 56 Narration: The same microphones as above compared at half-stick 57 Earthworks PianoMic Random Incidence omnis at half-stick 58 AKG C414 cardioids at half-stick 59 Audix SCX25 cardioids at half-stick 60 dpa 4011 cardioids at half-stick 61 B&K 4007 omnis at half-stick 62 dpa SMK 4061 omni microphone system at half-stick 63 Earthworks PianoMic Random Incidence omnis at half-stick Comparative Piano Recordings with Lid Closed 64 Narration: Microphone comparisons with piano lid closed 65 AKG C414 cardioid with lid closed 66 Audix SCX25 cardioids with piano lid closed 67 dpa SMK 4061 omni microphone system with piano lid closed 68 Earthworks PianoMic Random Incidence omnis with piano lid closed PianoMic at Full-Stick, Half-Stick and Lid Closed 69 Narration: Earthworks PianoMic at full-stick, half-stick and piano lid closed 70 Earthworks PianoMic with piano lid open (full-stick) 71 Earthworks PianoMic with piano lid at half-stick 72 Earthworks PianoMic with piano lid closed Comparative Piano Recordings with Full Chromatic Scale 73 Narration: Hear evenness of notes across the keyboard; comparisons with full chromatic scales 74 AKG C414 cardioids 75 Neumann TLM 170 cardioids 76 dpa 4006 omnis 77 Earthworks PianoMic Random Incidence omnis PianoMic compared to Piano Pickups 78 Narration: Introduction to piano pickups and comparisons to PianoMic 79 Helpinstill 120 Piano pickup 80 Barcus Berry 4000 contact microphone 81 Earthworks PianoMic Music Excerpts Recorded with Earthworks High Definition Microphones 82 Narration: Thank you and introduction to musical excerpts 83 Collage of musical excerpts recorded with Earthworks High Definition Microphones 18

20 Place Postage Here AUDIO DEMO CD INSIDE 37 Wilton Rd Milford, NH USA Phone: (603) , ext 14