Detail 01
157dB max SPL with the -20dB pad
Handles snare and trumpet bells up close without the capsule distorting. The pad is the reason it survives.

Independent shopping perspective
Cardioid condenser built for close-miking loud instruments. For engineers micing drums, brass, or amps where a standard condenser would overload.

Strong match
Consider the trade-offs
What matters in use
Catalog numbers tell only part of the story. These are the details most likely to change how this product feels, sounds, or fits into a setup.
Detail 01
Handles snare and trumpet bells up close without the capsule distorting. The pad is the reason it survives.
Detail 02
Rejects sound from behind, so it isolates one drum or horn from the rest of the stage.
Detail 03
Three levels of headroom. Set it on the mic before the preamp so you don't clip the input.
Detail 04
Moderate output. Loud sources will drive it fine; quiet distant sources need more preamp gain.
Detail 05
Full range top to bottom, so cymbal detail and low-end body both come through.
Detail 06
Standard for pro preamps. Long XLR runs won't degrade the signal on typical stage cabling.
Final check
Product questions
Straight answers to the questions shoppers most often ask about this product.
Yes. It's a condenser, so it needs 48V phantom power from a mixer, interface, or standalone preamp. It will not work on a dynamic-only input.
It's built as an instrument mic with a cardioid pattern and high SPL handling. It will capture a voice, but it isn't designed for handheld vocal work.
It cuts the mic's output by 10 or 20dB before the signal hits your preamp. Use it on very loud sources so the input stage doesn't clip.
Yes. The full 20Hz–20kHz response and high SPL ceiling suit cymbals and overheads, and the cardioid pattern keeps stage bleed down.
Reference
The complete catalog record, organized around the decisions musicians make when comparing gear.