-Voiced specifically for snare drums and tom-toms
-Powerful neodymium magnet structure
-Complete with DRC-1 drum rim clamp
-Supercardioid polar pattern
-Excellent isolation from surrounding drums
-Dynamic element

This product is a professional-grade supercardioid dynamic microphone designed to deliver the power, punctuation and natural tones of toms and snare drums in any size sound reinforcement system or recording studio.
With its frequency response designed for that special tonal area toms and snare drums occupy, the PL35 delivers all of the “dialed-in” tone and percussive impact detail professional drummers and sound system engineers require. The PL35’s tight supercardioid polar pattern is designed to minimize off-axis information from nearby drums and instruments entering the capsule, and allows for a very isolated instrument sound and higher gain before feedback.
Cable clutter and positioning in tight spaces can always be an issue when miking toms and snares, and the PL35’s clever cable exit angle of 37.5° relative to the body reduces the vertical space above the drum required for the XLR connector and cable. The PL35 is supplied with the unique DRC-1 drum rim clamp which eliminates the need for a floor stand and boom, and allows easy-on / easy-off attachment of the microphone to virtually any drum brand steel rim.

Application Notes:
As with most directional microphones, the low frequency response of the PL35 microphone varies with the distance from the sound source. Known as “proximity effect”, the bass response of the microphone increases as the working distance to the microphone is reduced. This “bass boost” is only audible when working at distances closer than 6 inches. Therefore, working close to the microphone will produce a more robust sound. Using this microphone at distances greater than 6 inches provides minimal coloration from proximity effect.
Close-up positioning of the microphone will also reduce the potential for feedback from the sound reinforcement system. Then, the bass boost provides an increase in overall microphone output level.
The mixer gain may be proportionately reduced, resulting in a reduction of the system’s sensitivity to feedback caused by sound entering the microphone from the loudspeakers.

Microphone Use and Placement:

– Electric Guitar and Bass Guitar Amplifier:
Place microphone approximately 1 to 2 inches from and at a 90° angle to the speaker cone. To reduce boominess, move the microphone off axis to the cone from 90° to 45°, or move mic from center of cone to either edge.

-Tom-Toms:
On double headed Toms, place mic 1 to 3 inches over the top of drum, at a 45° angle to the drum surface, and 1 to 2 inches in from the drum edge. On single headed Toms, use above method or place mic inside Tom from underneath at a 90° angle from the center of head, 3 to 5 inches away.

-Snare Drum:
Place mic 1 to 3 inches above the top head, 1 to 2 inches in from the rim. Aim the mic downward at an angle toward the top head. If the drum rings, tape deadening material to the head or use damping rings.
For more “snare” sound, place a 2nd mic underneath aimed up at the bottom of head.

-Cymbals:
Place mic 1 to 2 feet above the top of cymbals.

-High-Hat
Place mic 5 inches above outside edge at a 45° down angle.

-Brass
Place mic 6 to 24 inches away, and on axis with the bell of the instrument.

-Acoustic Guitar
Place mic 6 to 12 inches from where finger board joins the body.