Behringer BC1200

• Classic set of 7 microphones tuned to capture every nuance of a complete drum set
  
• Complete collection of drum microphones, ideal for studio recording and live performances
  
• 1 large-diaphragm dynamic microphone especially for bass drum and low-frequency instruments
  
• 4 dynamic percussion microphones for snare, toms and other acoustic percussive instruments
  
• 2 tuned condenser microphones for overhead stereo drum imaging, also suitable for stringed instruments
  
• Cardioid polar pattern for excellent sound source separation
  
• Rugged, reliable die-cast metal housing
  
• Compact and versatile microphones are suitable for precision and close miking applications
  
• Gold-plated 3-pin XLR output connector for highest signal integrity
  
• Microphone clips, 5/8" thread adapter, windscreen and aluminium carrying case included
  

With the BC1200, Behringer presents a professional drum microphone set consisting of a total of 7 microphones that are suitable for both live and studio applications. The different microphones are tuned to efficiently capture kick drums, toms, snares and cymbals. The set includes windscreens for overhead mics, clamps for tom/snare mics and 5/8" thread adapters in a simple carrying case. The rugged die-cast construction makes the BC1200 set resistant to the rigours of everyday studio and stage use.

This dynamic microphone with large diaphragm capsule and cardioid pick-up pattern KM1200 is especially designed for bass drums. It can be easily mounted on a short stand and positioned directly at the opening of the bass drum.

The TM1200 dynamic microphones with mid-membrane capsules are specially designed for toms and snares. The special microphones can be attached to the hoop of a tom or snare drum with clamps. The angle and distance from the microphone to the drumhead is adjustable.

The CM1200 directional small-diaphragm condenser capsules are specifically tuned for crash, hat and ride cymbals. Mount the microphones on a pair of tripod stands and position them to get the desired delicate/silky highs. Each mic should be positioned about 1 m above a ride cymbal and hi-hat, pointing directly down. You can also position both microphones directly above the snare drum in an "XY" pattern with the capsule ends almost touching and one pointing at the ride cymbal and the other at the hi-hat.

(Note that these microphones require 48 V phantom power to operate)

Tom/Snare microphones

• Type: Dynamic
  
• Polar pattern: cardioid (unidirectional)
• Frequency response: 70 Hz - 14 kHz
• Sensitivity: -56 dB (±3 dB) @ 1 kHz, 0 dB = 1 V/Pa
• Impedance: 250 Ω (±30%) @ 1 kHz
• Max. SPL: 145 dB @ 1 kHz ≤1% THD
• S/N ratio: 75 dB
  

Bass-Drum-microphone

• Type: Dynamic
  
• Polar pattern: Cardioid, (Unidirectional)
• Frequency response: 50 Hz - 14 kHz
• Sensitivity: -58 dB (±3 dB) @ 1 kHz, 0 dB = 1 V/Pa
• Impedance: 250 Ω (±30%) @ 1 kHz
• Max. SPL: 150 dB @ 1 kHz ≤1% THD
• S/N ratio: 79 dB
  

Overhead microphones

• Type: Condenser
  
• Polar pattern: Cardioid, (Unidirectional)
• Frequency response: 70 Hz - 18 kHz
• Sensitivity: -45 dB (±3 dB) @ 1 kHz, 0 dB = 1 V/Pa
• Impedance: 250 Ω (±30%) @ 1 kHz
• Power supply: 48 V phantom powering
• Max. SPL: 136 dB @ 1 kHz ≤1% distortion factor
• Signal to noise ratio: 70 dB