Maybe it’s because I’m also a drummer, but whenever a company introduces a new microphone designed for kick drum, I’m all ears. So earlier this year, when Telefunken Eletroakustik announced its new M82, I was definitely interested and even more so because the M82 also has onboard tone shaping switches to tailor the response to the job at hand.
Available in basic black (what other color should any blend-into-the-background instrument mic be?), the M82 has the vague appearance of a stubby U47, but don’t let that fool you. The M82 is a dynamic mic with passive filters — there are no active circuits that require phantom power, like a few other kick mics, so it’s plug and go. The other thing that you need to know is that despite its look, it’s an end-address design. In fact, to emphasize this point, the sides of the mic are clearly emblazoned with the phrase “end address” and an arrow pointing toward the source, as shown in the photo here. The mic has a $399 MAP price and includes a swivel stand mount and a padded vinyl storage case. An elastic suspension shock mount is optional.
Getting Physical
Just slightly over six inches long, the M82 weighs a hefty 22.4 ounces and has a non-reflective matte black finish. The mic’s fit and feel seem very high quality throughout. The polar pattern is cardioid and stated specs include a 25 Hz to 18k Hz response, 1.85mV/Pa sensitivity, 300 ohm impedance and 160 dB SPL handling. Under the hood is a large-diaphragm (35mm/1.37-inch diameter) dynamic capsule.
The mic’s back side has two slightly recessed switches. The one labeled “Kick EQ” has a flat setting and another position that engages a wide-Q, -6 dB notch filter centered around 350 Hz. Labeled “High Boost,” the second switch has a flat and an equalized setting that adds a smooth, gradual upper mid/high-end boost that starts about 2k Hz and peaks at +6 dB around 10k Hz. The latter is intended to give the M82 the characteristic rising presence boost of most vocal mics. This combination of the two switches provides four variations — flat, Kick EQ in, HF Boost in and both filters in — offering the user a lot of flexibility.
In Use
I began my test of the M82 on the typical 22-inch rock kick, with the mic placed just slightly inside an 8-inch hole cut into the resonant head. In the flat position (no filters engaged) the sound reminded me of an RE-20. There was plenty of LF, but for a rock sound, the drum sounded saggy with little definition. Setting the Kick EQ filter made a huge difference, eliminating that lower midrange mush that I often need to use console EQ to remove. On this particular kick, I wanted a little more beater click — not much, really — and a slight +2 dB boost at 1,800 Hz on the input channel did the trick. Bear in mind that the kick sounded 95% there without the extra beater click boost, but the song just seemed to need it.
At the same time, experimenting with the sweet spot can really pay off. You can simply go deeper inside the drum for a little more attack, or back it off for a slightly less aggressive sound. Either way, the M82 delivers the full bottom end with punchy transients. On a double-headed (no hole) 18-inch jazz kick, the M82 (placed about six inches back from the head) was fine in the flat mode — round and warm. No problem there.
Having seemingly conquered kick drums, I also tried the M82 in some other applications. The M82 turned out to be a great choice on guitar cabinets — whether a Marshall 4×12 or a Deluxe Reverb. Here, it’s best to not use the kick EQ setting, although the high boost comes in handy to add a bit of upper-mid — or not, depending on the sound you’re after. And in the flat position, it’s also good for miking bass cabs or sax.
I like this one. Besides delivering the goods on kick drum, the M82’s onboard filters open up some possibilities on other instruments as well. This flexible and versatile mic that has quickly made my “A” list and is worth checking out.
For more info, visit www.t-funk.com.
CHECK OUT THE TELEFUNKEN M82 MIC VIDEO DEMO FROM AES 2013 ON FOH-TV
