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beyerdynamic is introducing new Opus Series Microphones targeting drums, percussion, instruments and boundary applications at Winter NAMM 2005. The percussive series includes the Opus 53, Opus 83, Opus 88, and Opus 99 and focuses on capturing the inflection and dynamics of drums and other percussive-type instruments. The Opus 51 acoustic boundary microphone is for all boundary applications.
"The drum kit presents a world of sonic color and dynamics from the subtle inflection of a buss roll to the tight thump of the kick drum or aggressive crack of the snare," says Rick Belt, general manager for beyerdynamic. "Our engineers tailored these five models of the Opus Series to acquire every tonal nuance of the drum kit or any other percussive instrument, including piano for our boundary microphone. This percussive/instrument Opus Series will provide drummers, instrument artists and engineers with progressive miking options as well as a superior boundary-type microphone for all appropriate applications."
The Opus Series Percussion, Instrument & Boundary Microphones include:
Opus 51: The Opus 51 Acoustical Boundary Microphone is suitable for studio and stage applications such as miking instruments and is of particular benefit when used upright or for grand pianos where the microphone can be placed internally, or laid inside a kick drum for additional ambience capture. The Opus 51 can also be used within a round-table discussions system as well as stage and film applications for ambience recording. The microphone element is integrated into a solid metal plate with a heavy-duty protective surface resisting accidental damage from kicks or footsteps. The half-spherical polar pattern of the Opus 51 has a very wide and even pickup angle and is suitable for miking large sound sources simplifying the choice of microphone as it is not dependent on the distance to the sound source. A power supply is required to power the microphone that can also be used as an adapter to connect the microphone to any other phantom power source. The frequency response of this condenser microphone is a very flat 30 to 20,000 Hz through a semi-spherical polar pattern making it ideal for a wide range of applications.
Opus 53: The Opus 53 is a condenser microphone consisting of a lightweight, but rugged, carbon fiber reinforced composite casing. Its small and short design allows flexible and unobtrusive positioning. The frequency response of 30 - 20,000 Hz has been optimized for universal miking of instruments. In particular, it is suitable for miking drums such as snare or hi-hat taking advantage of the tight cardioid polar pattern. But it is also a great microphone for miking brass and woodwind instruments as well as guitars and other string instruments. Opus 83: The Opus 83 is a studio condenser microphone suitable for instrument miking. Employing back electret technology, its wide frequency response of 40 - 20,000 Hz combined with a slight proximity effect makes it suited for all formats of recording. Its cardioid polar characteristics are similar to higher priced studio microphones, capturing the sound required with the greatest of ease. Housed in a robust brass body, it easily withstands the rough and tumble of studio use. The 83 handles a maximum SPL of 138 dB at 1 kHz with a THD of 1%, a signal-to-noise ratio of 60 dB relative to 1 Pa and operates between 12 and 48 V from a phantom power supply.
Opus 88: The Opus 88 is a condenser microphone (back electret) for miking drums, especially toms and snare drums. The microphone clamp is equipped with an integrated pre-amp and yields a frequency response of 30-20,000 Hz and a maximum SPL of 136 dB (at 48 V phantom power) or 126 dB (at 12 V phantom power). The microphone capsule is mounted on a short gooseneck allowing optimum positioning and the cardioid polar pattern allows for high-gain-before feedback. For connection, the Opus 88 is fitted with a 3-pin XLR-plug at the microphone clamp. The microphone clamp is also available without pre-amp as MKV 87 with an integrated 3/8" thread.
Opus 99: The Opus 99 dynamic has been developed especially for miking bass drums. The strong neodymium magnet system and a mass reduced special diaphragm give the microphone a powerful reproduction with excellent transient characteristics within the 30-18,000 Hz frequency response. The hypercardioid polar pattern helps eliminate feedback in live applications and allows an optimum channel separation between different instruments. The microphone can operate at very high sound pressure levels without loss of sound quality and virtually no distortion. With the optional ST 99 stand, the Opus 99 can be placed directly inside or in front of the bass drum.
The Opus percussion, instrument and boundary series is available in various drum packs that range in price from $649.00 to $2,149.00 depending on the amount of microphones needed. All microphones in the Opus Series offer a generous list of optional mountings, XLR cables of varying lengths and microphones stands.
For more information, visit their web site at www.beyerdynamic.com