Lauten Audio Tom Mic Side-Address FET Condenser Microphone

The Lauten Audio Tom Mic side-address FET condenser microphone is the world’s first large diaphragm condenser microphone custom-crafted for use on toms. Equipped with Lauten Audio’s redesigned supercardioid capsule and award-winning dual-bias circuitry, Tom Mic captures pure, high-definition rack and floor tom sonics with maximum impact and tone while minimizing cymbal bleed. In addition to its tom-tailored frequency response, Tom Mic also features onboard analog sound-shaping, which allows you to musically rebalance the attack and body of any tom on any drum kit at the flip of a switch.

The Tom Mic’s tom-tailored frequency response captures each rack and floor tom with drummer-perspective speed, power, and tone, making EQ an afterthought rather than a must-have.

TOMS, NOT CYMBALS

Lauten Audio’s bleed-blocking head design and dual bias circuitry work together to provide Tom Mic with up to 28 dB of off-axis rejection. This means crisp, clear tom sounds with far less cymbal bleed than a traditional dynamic or condenser microphone. Whether stand or rim-mounted, Tom Mic’s redesigned supercardioid capsule is hand-tuned and vibration-resistant to ensure a powerful balance of transient, body, and tone while minimizing inharmonic overtones from neighboring drums and tuning inconsistencies.

BUILT TO WORK

Each Tom Mic has a solid brass headframe and mildew-resistant dust filter to protect against stick hits, dust, and debris, whether in the studio or on stage. Because of its unique design, Tom Mic is ideal for a wide array of placement positions while minimizing off-axis sounds. From the slap and isolation of proximity to the lifelike sonics of separation, each placement position offers a wealth of sonic possibilities. It’s even great on resonant heads as well.

SWITCH IT UP

Tom Mic’s filters impact the overall performance of the microphone and play a critical role in its overall sonic versatility.

• Flat High Cut: Tom Mic’s frequency response boosts from 1 kHz - 2 kHz, dips sharply at 3 kHz for snap, then rises around 5 kHz for smack and attack. Sensitivity is also reduced from 9 kHz through 14 kHz to minimize the sizzle and harshness of cymbal bleed.
• 12 kHz High Cut: Reduce perceived attack from overly bright tom strikes for a slightly rounder and more balanced note. This setting is also helpful for bringing up the perceived body of a floor tom while further reducing bleed from the surrounding cymbals.
• 5 kHz High Cut: Minimize bleed in harsh environments while preserving the essential impact and tone of a tom. This setting allows you to reintroduce presence and attack through post-EQ without accentuating unwanted high-frequency elements.
• Flat Low Cut: Allow all low-frequency information generated by a rack or floor to pass through Tom Mic’s dual-bias circuitry unaltered.
• 80 Hz Low Cut: Gently reduce low-frequency buildup while improving perceived clarity from each note. This setting enables toms to stand out in a mix without sacrificing density and low end.
• 140 Hz Low Cut: Significantly reduce low-frequency buildup while enhancing the perceived impact and clarity of each note. This setting is particularly useful in close-mic applications where toms need to assertively cut through a dense mix with precision and clarity.