When I first discovered beyerdynamic microphones in the late 1990s I had no idea that the German company founded by Eugen Beyer has been around since 1924. I was also clueless to the fact that, by 1937, the beyerdynamic company had been designing and manufacturing microphones, headsets and other audio products. All I can say is that learning this information certainly sharpened my interest in the new Touring Gear mics I received and was about to field test. It just fascinates me that a company can survive and thrive for such a long time. They must be doing something right. That said, let’s take a look at the microphones themselves.
The Gear
First, I unpackaged the TG D70d kick drum mic. This dynamic mic incorporates a hyper-cardioid pattern and transmits very little feedback. The microphone is actually designed for all low drums and can be used on a variety of bass emitting instruments. I used it on a few different instruments (wait for the review section).
Next, I unwrapped two TG 153c condenser mics. The cardioid polar pattern on this model has a large “listening” range. It can be used as an overhead mic for drum kits or percussion, on a high hat, woodwind or brass instrument. The microphones are very compact and easy to place.
I then opened the boxes for three TG D58c condenser mics. These mics are designed for toms, snares, bongos, congas and other hand drums. The cardioid pattern mics are a clip-on type, sporting a locking swivel joint with gooseneck. I have used a variety of clip-on mics, and these appear to be well-engineered and durable. Of course, you have to abuse them in the field for a while to accurately comment on the durability, but I do like the design.
Lastly, I unpacked a single TG D57c condenser mic. This is also a cardioid-pattern clip-on mic, suited for snare drums, toms, congas, bongos and so on. The microphone has a very flexible gooseneck supporting the capsule, which makes for easy placement.
There you have it. These are the contenders, let’s see how they did.
The Gigs
I first took all the beyerdynamic microphones out of their boxes, put them in their individual cases, and off I went to a gig where I would be using the mics on a percussion rig that I had never seen. As it turned out, the rig was made up of a pair of congas, a pair of bongos, a Cajon (box) and a tree of chimes and tiny cymbals.
First, I decided to try the TG D70d kick mic on the Cajon. I miked the sound hole on the box and I got a nice sound without a lot of EQ. Next, I used two TG D58c mics on the congas and the TG D57c set between the bongo heads. Lastly, I took one TG 153c (designed for high hats, etc.) for the chime tree.
Right off, I loved the sound of the Cajon. The TG D70d kick mic gave the instrument a tight, solid, percussive sound with almost no EQ. Of course the microphone is designed to accurately reproduce the sound of the instrument, but it seemed to enhance the overall sound of that instrument.
The congas and bongos took a little more EQ, but the microphones performed very nicely, with almost no bleed outside of their assigned instrument.
Lastly, the high hat mic on the chime tree was crisp and transparent. Those are words I tend to use with a good condenser hat mic, but what it really means is that the chime and cymbals cut through smoothly without any harshness.
To summarize my first outing with the beyerdynamic microphones I would say that they amplified each instrument and their individual sounds in a very precise way.
So, off to my next gig. I was supplying sound reinforcement for a local school festival. The three-day event featured one rock/blues/pop band every day.
On Day One, I was miking a small drum kit and placed the D70d mic on the kick. (To conserve valuable printed space, from here on out, I’m omitting the “TG” from the model names; all the models begin with TG. Oops, I just blew the print space I saved with that explanation!) Anyway, I also used the D57c on the snare, one D58c on the high tom and one on the low tom, and the two 153c mics for the overheads.
As a kick drum microphone, the D70d performed beautifully — tight and accurate with very little EQ. I think it has become my favorite new kick drum mic.
The D57c sounded great on the snare. I actually like this microphone better for a snare drum than the D58c. It simply sounds better to my ears on a snare. (Not that the D58c didn’t sound great on the toms, because they did.)
The D57c and D58c both have very good isolation characteristics and seem to amplify only the drum they are addressing. The 153c overhead mics also performed very well. As I mentioned before, they are clean and crisp without any harshness.
The following day, I had another band and another drum kit. Each day the beyerdynamic mics performed with precision. However, I do want to mention one thing here. As obvious as it may be, microphones only amplify what they hear. The best mic in the world can’t make a bad drum sound good (or any instrument for that matter — human or otherwise).
That said, a good mic in the hands of a good sound tech can improve an otherwise poor-sounding instrument. And the beyerdynamic Touring Gear mics are definitely good.
beyerdynamic Touring Gear Drum and Percussion Mics
Pros: Accurate reproduction, quality construction.
Cons: None
How Much: MSRP: TG D70d kick drum mic: $299, TG 153c condenser mic: $129, TG D58c condenser mic: $179, TG D57c condenser mic: $179.
