The AKG C 518 M is the ultimate miniature condenser microphone for drums and percussion instruments.
Featuring a tight cardioid pickup pattern helping to eliminate unwanted bleed of other close instruments. It comes complete with a continuously adjustable vise-type clamp making it easy to fix the microphone securely on the top or bottom hoop of most drums or percussion instruments. The external shock mount provides high mechanical-noise rejection that may result from accidental rim hits while the internal shock mount protects from a direct hit of the microphone itself. The special included snap-on stabilizer knee will keep the gooseneck bent at a defined angle.
- C 518 M: Designed for wired use with external phantom power from a mixer or other phantom power supply. Includes 1 x mini XLR to
standard XLR connecting cable. (10 ft./3 m)
- C 518 ML: Designed for use with the B 29 L battery power supply, AKG WMS Series wireless bodypack transmitters, or the MPA V L adapter for external phantom powering. Includes 1 x mini XLR to mini XLR connecting cable, 1 x A 400 adapter for PT 40 or PT 400 bodypack.
What does the L in C 518 ML mean?
L type microphones have been designed for use with (and powering from) AKG wireless bodypack transmitters or the B 29 L battery power supply. Every condenser mic needs some kind of power supply, and phantom powering has become a worldwide standard. Most mixing consoles as well as professional microphone preamps and recording devices provide phantom power. To feed an L type microphone from phantom power, you will need an AKG MPA phantom power adapter. If your mixer or recorder provides no phantom power, you will have to use an AKG B 18 or other professional phantom power supply.
Some guidelines for recording drums
Miking a drum kit is all about knowledge and experience. Getting good results is hard work. As a minimum microphone setup we recommend to position two cardioid condenser microphones such as AKG C 414 B-XLS 32 to 48 inches (80 to 120 cm) above the drummer’s head. If your budget permits, you can use this overhead pair for the cymbals only, cutting frequencies below 1 kHz on the EQ, and mic up the various drums individually as follows:
Hanging and floor toms: Place the microphones very close to the perimeter of the head.
Snare: Place the microphone extremely close-in, 1.2 to 2 inches (3 to 5 cm) above the top head. You may perhaps use an extra microphone directed at the snares from below, making sure to reverse its polarity.
Hi-hat: Use a hypercardioid small-diaphragm microphone pointing away from the snare drum. Bass drum: Make sure to switch the preattenuation pad in (sound pressure levels may be as high as 160 dB SPL). Remove the front head and place the microphone inside the shell. The further you place the mic away from the rear head, the fatter the sound will be. Directing the microphone exactly at the point where the beater strikes the head may be less desirable as this will produce a dry click with virtually no bass content.