I made my first microphone from an old subwoofer today.

[Jimbroni]

Good Lord!! The Holy Spirit is in my kick drum.

 

Inspired by Phil's and many other's expressions of satisfaction of the Yamaha sub kick, I decide to look it up. I had no idea what it was. So then I start looking around, and find people have rigging up woofers from ns10 or hifi stereos to record bass drums for quite a while. Anyway, so I found this 10" woofer from a car kicker box laying around the garage and wired it up to an xlr cable.

 

So I miked up the drums, put an Re20 inside the kik, and this woofer contraption outside the kik about 2" away. I didn't make a stand for this experiment, but actually I didn't need to the magnet on the woofer holds it solidly to a mic stand.

 

Anyway. BLAMMO!!!! This is sincerely the toughest baddest ass kik sound I've ever captured. I'm loving it.

 

So yeah, I'll be out in the toolshed rigging up a permanent stand for this thing.

[weeman]

sounds awsome id be scared of blowing a pre-amp though with impedance stuff. Can u post a sound file.

[Jimbroni]

Well we're still recording drum grooves. Maybe tomorrow I'll post a sample.

 

As far as blowing up preamps go. Well it seems pretty common that these type scenarios do spit out an insanely hot signal. That said, turn your preamp all way down, put -20 pad on it and the signal comes in right at the perfect level.

[grantlack]

way sweet, cant wait to hear clips. i've been considering this for awhile to pull some kick and tom samples for drum programming, but in my case subbing a d6 on the kick to get the 'clicky' end of the spectrum.

 

you should get slightly better response with an actual stand, as you won't be potentially compromising the integrity/accuracy of the EM field by having the magnet attaching to something. the more rigid mounting should help a bit too, as it will yield a more accurate excursion (incursion in this case) to get out what's going in.

 

last thought from my possible plans: it would be way rad and fairly easy to permanently wire this with a major pad, xlr jack and phase switch incorporated into the stand/mount. ready... go!

[WRGKMC]

I wonder how either a coaxial speaker or a wooder tweeter combo would work. Maybe run two lines for different FQs or even a woofer mid tweeter combo, Of course you'd have to remove the crossover.

 

Another option to what Jimbroni said, you could easily wire in a cap on the pad to pass or block trebble when iits turned down or up like a guitar. Also running the woofer through an EQ or other active filter might have some cool results

[Jimbroni]

Hey guys. I didn't want to load these on my bands soundclick site, so I'm waiting for clearance on a personal page.

 

But I did load some samples for you guys. Don't expect much its just a short snippet of drums, I made several versions with and without the woofer microphone, and blended a couple different ways with the re20. I didn't do any eqing or anything. Just played with faders a bit and sent to mp3.

 

However, I did load these on a google site. Its set up to share with everybody, but I don't how it works really. So try this link if it works cool if not we have to wait til my soundclick clears.

 

http://sites.google.com/site/ericsmusicsamples/Home/samples

 

 

BTW. Good ideas for the permanent solution guys. If anybody has link to or a simple description of how to make a pad switch I would greatly appreciate it. I'm a mechanical and acoustics guy, I'm not afraid of a soldering iron but I have no clue really when it comes to electronics.

[Consume]

 

Hey guys. I didn't want to load these on my bands soundclick site, so I'm waiting for clearance on a personal page. But I did load some samples for you guys. Don't expect much its just a short snippet of drums, I made several versions with and without the woofer microphone, and blended a couple different ways with the re20. I didn't do any eqing or anything. Just played with faders a bit and sent to mp3. However, I did load these on a google site. Its set up to share with everybody, but I don't how it works really. So try this link if it works cool if not we have to wait til my soundclick clears. http://sites.google.com/site/ericsmusicsamples/Home/samples BTW. Good ideas for the permanent solution guys. If anybody has link to or a simple description of how to make a pad switch I would greatly appreciate it. I'm a mechanical and acoustics guy, I'm not afraid of a soldering iron but I have no clue really when it comes to electronics.

 

 

 

 

Try plugging it into a Direct Box.

 

 

Personallym, I've never had an issue with it and I've been using a Speaker Mic for 12 years. Keep the Pre amp level low and insert a Compressor.

 

Also, if you make a Kick drum tunnel, you can contain more sound in it and you will have even more impressive results than you are currently getting.

 

 

 

Ed

[Jimbroni]

 

Try plugging it into a Direct Box. Personallym, I've never had an issue with it and I've been using a Speaker Mic for 12 years. Keep the Pre amp level low and insert a Compressor. Also, if you make a Kick drum tunnel, you can contain more sound in it and you will have even more impressive results than you are currently getting. Ed

 

 

I wouldn't go into a DI. That would unneccesarily unbalance signal. Really it isn't a big deal to have a pad, since my mixer has one. But it would be nice for convenience sake and flexibility.

 

Kick drum tunnel aye. I've used them when outside miking with a D112 or condenser, but I didn't see the need here. This thing basically pick up zero high end. It has no bleed issues. But hey if you say it sounds even better that way, then cool. Any sound improvement is worth the effort.

 

Since I got ya. How did you do your stand? Is it better to hard mount or I should put some rubber bushings or I should come up with a shock mount?

 

To me it seems like it should be rigid with possibly some rubber bushings at the mounts, and easy to position. But then the Yahama Subkick ad sez its shock mounted. So Just wondering if you have some trial and error tips.

[WRGKMC]

In my case I'm thinking about bolting one directly to a drum head like you would for a speaker baffel and have a second hole for a mic. Saves space and one last stand to work around.

[Consume]

 

I wouldn't go into a DI. That would unneccesarily unbalance signal. Really it isn't a big deal to have a pad, since my mixer has one. But it would be nice for convenience sake and flexibility. Kick drum tunnel aye. I've used them when outside miking with a D112 or condenser, but I didn't see the need here. This thing basically pick up zero high end. It has no bleed issues. But hey if you say it sounds even better that way, then cool. Any sound improvement is worth the effort. Since I got ya. How did you do your stand? Is it better to hard mount or I should put some rubber bushings or I should come up with a shock mount? To me it seems like it should be rigid with possibly some rubber bushings at the mounts, and easy to position. But then the Yahama Subkick ad sez its shock mounted. So Just wondering if you have some trial and error tips.

 

 

 

I just mounted it in a board like it was a speaker front, and then put two 2"x4"'s about 12" long on it so from the side view it would look like an upside down T.

The Subkick is a ripoff. They are making hundereds of dollars off of a drumshell, a mesh drumheads, a few lugs, and a speaker.

 

You can make this thing for probably $25 or less INCLUDING the speaker. Just a cheap 6.5" through 10" speaker will work.

 

 

Ed

[Jimbroni]

 

I just mounted it in a board like it was a speaker front, and then put two 2"x4"'s about 12" long on it so from the side view it would look like an upside down T. The Subkick is a ripoff. They are making hundereds of dollars off of a drumshell, a mesh drumheads, a few lugs, and a speaker. You can make this thing for probably $25 or less INCLUDING the speaker. Just a cheap 6.5" through 10" speaker will work. Ed

 

 

Thanks.

I wonder what sonic differences would be with a 6.5" vs the 10" I'm currently playing with. I wonder it puts the pump at a higher frequency.

 

I admit I like the really dry thump this 10 gets, I'm curious if a smaller woofer would push frequency up and get more of say 808 style thump.

[WRGKMC]

I might look at the FQ responce of the speaker itself for clues. I would think a full FQ speaker from a home stereo would have a wider responce than say a Foam surround poly cone sub. Maybe even an alluminum dome speaker would have s different responce. I thnk a Coaxial or triaxial car speaker might hit the mark though, If anything the playback in a vehicle might give a closer kick match.

[Jimbroni]

 

If anything the playback in a vehicle might give a closer kick match.

 

 

I think there is some truth to this. The thing I noticed when making the samples, when I played them through my Harmon Kardon surround system, the subwoofer reacted very realistically. Which Has alway been a challenge for me. When I mike with a D112, I can get the sound as big and bad as I want. Play it around various stereo systems and have it sound good, but then when come across a system with a sub and then all of sudden that subs distorts or is muddy or the tone suffers. But this woofer mic without any eqing pumps my sub woofer on my stereo perfectly.

 

Though I'm not sure a full range speaker is called for or even ideal. This setup is not meant to be an all in one solution, its meant to be blended with another mic usually a batter mic. But in the spirit of experimentation I say give it shot you never know.

[Phil O'Keefe]

The Subkick also has shock mounting incorporated in the design. While you can probably cobble something together as a DIY project, chances are it's not going to be as flexible in terms of the mounting and placement, nor look as cool.

 

When I got mine, they were going for ~$300. Mine has been in constant use since 2004, with never an issue of any kind. I'd hardly consider that a "rip off", but of course, you're entitled to your own opinion.

 

My EQ Magazine review of the Yamaha Subkick.

[grantlack]

 

BTW. Good ideas for the permanent solution guys. If anybody has link to or a simple description of how to make a pad switch I would greatly appreciate it. I'm a mechanical and acoustics guy, I'm not afraid of a soldering iron but I have no clue really when it comes to electronics.

 

 

it's all a game of resistors. i gave this page the ol' hairy eyeball and it seems reasonable, the O-pad setup seems like the best bet. allows for big attenuation and leaves the signal balanced. bottom of the page provides happy little resistor values for commonly desired attenuations.

http://www.uneeda-audio.com/pads/

to make it switchable, the quick and dirty answer is to just jump (bypass) the entire resistor network with straight wires across the +- leads and incorporate a DPST switch with one pole wired into the + jumper and the other into the -. (for those unfamiliar w/ the jargon: straight = no circuit elements involved. DPST = dual pole, single throw. opens/closes at two locations simultaneously with a single physical switch to flip). i'm by no means an electrical engineer, so if anybody's got more practical experience then by all means shoot my reasoning full of holes. my assesment though is that this is a cheap solution, should work, and shouldn't blow anything up. game on?

[Jimbroni]

thanks for the link. That don't seem so bad. Though it appears their chart doesn't match the diagrams, it still seems fairly straight forward.

 

And I'm familiar with this Hairy Eyeball of which you speak.

[Jimbroni]

 

The Subkick also has shock mounting incorporated in the design. While you can probably cobble something together as a DIY project, chances are it's not going to be as flexible in terms of the mounting and placement, nor look as cool. When I got mine, they were going for ~$300. Mine has been in constant use since 2004, with never an issue of any kind. I'd hardly consider that a "rip off", but of course, you're entitled to your own opinion. My EQ Magazine review of the Yamaha Subkick.

 

 

I've been actually heavily considering stealing the Yamaha design concept for this. I have a handful old junk drums, which I'd probably use a snare, laying around. Come up with a way to mount it to the lugs, attach a rim mount to it so it can easily be put on a tripod. Route the cable thru the vent.

 

whatever I do Its got to have height adjustment as well as at least some lateral adjustment. Sometimes I record on the drum stage, sometimes on the floor. Also, I might try this on the bass amp as well. So I need make a frame of some sort that will connect to a stand. Probably like floor tom stand due to the weight. I don't think a regular mike stand will cut it. Yeah I can definitely see the value of the Yamaha version, I paid more for my D112 if I remember right. And I tell you after hearing how easy it was to get a good sound, It'll probably be a while before I use a D112 on the kick again if ever. Unfortunately I'm broke right now, but luckily I do have my own version of sanford & son happening over here. I think I can pull this off with zero or very little investment.

[grantlack]

 

thanks for the link. That don't seem so bad. Though it appears their chart doesn't match the diagrams, it still seems fairly straight forward. And I'm familiar with this Hairy Eyeball of which you speak.

 

 

in the parts search:

if you search DPST on mouser.com you can find literally pages of toggle and rocker switches to fit your fancy with the switching application. most of the metal toggles are going to cost a bit more and have a useless 'neutral' position that may or may not offend your logic and/or fine motor skills. the rockers tend to have a slightly shorter functional lifespan and the plastic obviously won't wear as well, but if you're really planning on putting the switch through 10k+ cycles i doubt you'd be too worried about doing it on the supercheap. quality resistors with tight manufacturing tolerances can be had from them as well. pretty much anything required to build your own functional terminator can be scored there, to be honest.

 

i think i'm going to look a little further into pad diagrams sometime this week, if i find anything better i'll pass along the party. good to know i'm not the only one sporting ocular fuzz in these parts, maybe if i stopped to blink once in awhile it'd clear up.

[WRGKMC]

I have an old kick drum I can use. It would take up alot of space but I've heard good results by those mounting both a speaker and a mic inside then pushing the two kicks together. I'll have to see if I can find that page again and see what the guy did for mounting.

[Consume]

 

I've been actually heavily considering stealing the Yamaha design concept for this. I have a handful old junk drums, which I'd probably use a snare, laying around. Come up with a way to mount it to the lugs, attach a rim mount to it so it can easily be put on a tripod. Route the cable thru the vent. whatever I do Its got to have height adjustment as well as at least some lateral adjustment. Sometimes I record on the drum stage, sometimes on the floor. Also, I might try this on the bass amp as well. So I need make a frame of some sort that will connect to a stand. Probably like floor tom stand due to the weight. I don't think a regular mike stand will cut it. Yeah I can definitely see the value of the Yamaha version, I paid more for my D112 if I remember right. And I tell you after hearing how easy it was to get a good sound, It'll probably be a while before I use a D112 on the kick again if ever. Unfortunately I'm broke right now, but luckily I do have my own version of sanford & son happening over here. I think I can pull this off with zero or very little investment.

 

 

You don't use this instead of a Microphone, you need to use it with another microphone. The purpose of the speaker mic is to add frequencies that a mic with a 1" or less diaphragm would have a harder time picking up - essentially, isntead of turning up the bass on the mic's EQ section, you would raise the volume of the speaker mic.

[WRGKMC]

You don't use this instead of a Microphone, you need to use it with another microphone. The purpose of the speaker mic is to add frequencies that a mic with a 1" or less diaphragm would have a harder time picking up - essentially, isntead of turning up the bass on the mic's EQ section, you would raise the volume of the speaker mic.

 

 

I think He pretty much stated that in his first post that it was being used to supliment his mic in his first post. From there on I think different flavors of sound quality using different speakers and building stands and electrical attenuation have been part of the topic. I sure without a mic to provide the higher FQs and blending the two with EQs the thing would sound like someone banging on the back side of the wall. My point of a more full range speaker would be to have a littel more range to EQ with but it wouldnt replace a mic by any means only suppliment it.

[Phil O'Keefe]

Yeah, Jim said he was using it with an RE20. As I said in my EQ review, you could possibly use the Subkick alone, but when I did that, it required some serious (15 dB +) boosts in the mids / highs, and even then, it wasn't a "modern" kick sound - it was more along the lines of Charlie Watts on an old Stones record...

[Jimbroni]

BTW. Here is what I got so far. I need to tap a couple holes in the speaker rim so I can attach to all four lugs. And do a more robust job of wiring and I'm still looking into putting a toggle pad on this. But for the most part this is it. Yep its from a first act kiddie drumset, that my drummer garbage picked about a year ago.

 

 

 

[WRGKMC]

Humm, Could probibly use a 5 gallon pail or a speaker box in place of an actual drum. A drum does have some hardware options though that may save time.