As a custom manufacturer of a Sub Frequency Kick Drum Microphone,
Moon Mics is doing its best to provide the HIGHEST quality product combined with professional service and satisfaction for years to come. Our impeccable microphone system delivers a dynamic, unidirectional kick drum microphone that is also sophisticated and streamlined. Our frequency filter and sound reflective shield makes all the difference. We took old technology and combined it with new technology to create something out of this world.
U.S.Patent No. 8003878
INTRODUCING The NEW! DW Moon Mic™
The NEW High Quality Moon Mic™ microphone with a DW Tom Mount can't be beat!
THE MOON MIC™ WILL REVOLUTIONIZE THE WAY THE WORLD
RECOVERS THE LOW END!!!
The Moon Mic 8’’ diaphragm microphone addresses the common flaws traditionally found in large diaphragm sub microphones whether they were commercially bought or homemade.
List of flaws; Hot signals, false tone, ringing, bidirectional noise, low quality mids to highs. EQ-ing is the most common remedy but by EQ-ing, this will cause phase shifting resulting in falsification of the original sample. This has become an excepted practice that the Moon Mic intends to break.
The Moon Mics 250 ohms are perfect for a cool smooth signal. No pad required and no phantom power. The patented housing serves two purposes.
1. To reflect unwanted sound from the rear of the microphone. This supports the cardioids polar pattern. This is why the Moon Mic is Unidirectional.
2. The interior back wall of the Moon Mic has a spherical surface, containing one dimension. HARRY F. OLSON in 1950 had provened Spherical cabinets are capable of delivering an almost perfect frequency response. This contributes to why the Moon Mics tone is so accurate.
Most sub microphones that use drum housings contain mesh skins stretched over the drum. The intent of this type of design was to enhance the low end. It was not intended to reproduce the original signal exactly. The shape of a drum is perfect for enhancing or changing sound but it is the worst shape for a microphone to remain true to the source. The mesh skins act as a coupling. This is where false tones and or ringing come from. The Moon Mic is designed to recover sound directly from the source.
The Moon Mic addresses low quality mids and highs that traditionally the process was to EQ them out! We no longer have to accept the phase shift falsification of signals that has become the norm for years. The Moon Mic can be used flat EQ-ED. The filter inside the Moon Mic will lower the mids and highs amplitude but not remove the frequencies; they are still present up to 15k creating a shelf for the primary attack microphone to lie on. Your amplifier will see only the raw low signals not signals passed thru a filter.
By selecting a primary microphone of your choice to be used in tandem, you can add the mids and highs you wish. The signals will ''GLUE TOGETHER'' without the phase shift complications. This is why you will experience the most natural low end possible!
There seems to be big misconceptions about this microphone. The Moon Mic is a dynamic microphone containing a diaphragm, magnet, and a coil, as do all dynamic microphones regardless of diaphragm size...
As the designer of the Moon Mic microphone, sound quality has always been my number one focus. The look of the Moon Mic had to evolve around the sound requirements. The NEW High Quality DW Tom Mount with the Moon Mic microphone can't be beat!
THE MOON MIC WILL REVOLUTIONIZE THE WAY THE WORLD RECOVERS THE LOW END!!!
The Moon Mic™ will allow you to hear the low end for the first time!
"This is truly the way to go with mounting the
Moon Mic. I'm using this multi clamp
and it looks super clean
as well as no weird vibration. It mounts perfectly to the bass drum spur...
I'm loving it!!!!"
See our Press Release in the July 2009 issue of Modern Drummer Magazine. Look under Equipment section for New and Notable.
MODERN DRUMMER brought Grammy-winning engineer Butch Jones into their studio to test the Moon Mic. ''The best placement I found for the Moon Mic,'' Jones says, "was midway between the center and edge of the kick drum and about two fingers' width back from the head. There, the recorded signal had a pleasing subtone resonance that wasn't as heavy as some of the other subs I've worked with, and the mic captured more of the true pitch and character of the drum. Obviously, the usefulness of this more accurate sound ultimately depends on how well the kick is tuned.''