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B-Band UKKO-S Single Snare Drum Contact Mic

Item #: 
1274228075423
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The B-Band UKKO-S snare drum contact mic system is a remarkable way to capture the true tonality of your drum consistently, conveniently, and with extreme isolation. This system consists of two import... Read More

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Overview

The B-Band UKKO-S snare drum contact mic system is a remarkable way to capture the true tonality of your drum consistently, conveniently, and with extreme isolation. This system consists of two important components: the UKKO DMS preamp, built with high-quality class-A electronics, and the UKKO DST2 Contact mic for superb tone. This system will work with any size snare drum, and gives you high-resolution sound, and easy setup!

This mic system was designed to be able to blend-in visually with the drum kit. That is why B-Band designed the DMS preamp to be chrome colored to match most drum hardware. It is an extremely lightweight system that does not add any noticeable weight to the drum, or get in the way while performing like most other drum mic systems. It also very robust and durable, and will endure rigorous touring.

Setting up and tearing down have never been this easy. The DST2 has an adhesive back that mounts easily and discreetly on the inside of the drum shell near the batter head. The DST2 lead wire is fed through the drum air hole to the DMS preamp. The preamp comes with two different mounting options: mounting at the air hole outside of the drum, or a rim clamp mounting. The air hole mounting option was specially designed to not interrupt the flow of air as the drum breathes. Being as the DMS preamp is so small in size, there is no need to remove it to put the drum in its case, leave it on and be ready for the next gig or studio session.

Inside the DMS preamp there are two mini switches that contour the sound for a choice of tone. One switch controls a +3dB mid boost at 500 Hz and the other is for a -6dB high cut.

Features
  • Extreme isolation of each drum with no bleed from other drums
  • Mounts without modification to the drum
  • Reduces the need for audio gate effects
  • Ultra-quick setups
  • Two supplied mounting options for the DMS preamp
  • No need to position mics or mic stands; just plug a standard XLR cable into the preamp and play
Specifications
  • Frequency response: 60Hz — 35kHz (-3dB)
  • Phantom power required: 12 — 50-volt
  • Output impedance: 200 ohm balanced
  • Weight: 52 g. / 74 g. with rim mount
  • Dimensions: 76 mm (3.00") / 48mm (1.90") / 40mm (1.60") without rim mount, 102mm (4.00") / 48mm (1.90") / 66mm (2.60")
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Pro Coverage includes
  • Accidental damage protection (new gear only)
  • Expedited repair
  • Free shipping (for returns or repairs)
  • 100% coverage for commercial use
  • Extended return period
  • Extended price protection
  • No lemon guarantee
  • Free transfer of coverage to a new owner
  • Repair costs covered for up to three years from date of purchase
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  • Customer Reviews
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REVIEW SNAPSHOT®

by PowerReviews
 
4.0

(based on 1 review)

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Reviewed by 1 customer

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(1 of 1 customers found this review helpful)

 
4.0

It sounds like a snare drum

By John DuPont

from Austin, TX

I bought this with more than a little skepticism. I play a pretty tight kit so sometimes getting a snare mic where I want it is a pain. I've been a fan of internal mics for a while ? I have both a D112 and an Audix D6 internally mounted in various kick drums using May International mounts and love the results, so after 2 gigs in a row where I had issues with getting the snare mic'd I figured for the price it was worth the investment to give this a shot. I've not been disappointed. Now, just like my kick drum, when I need to use a mic'd snare it's as simple as plugging the XLR into the always-there mount. No fuss, no positioning, no mic stand to haul around. Takes time out of set-up and break-down and adds consistency to your sound. Just plug in when you need it. The only key is to remember to tell your FOH engineer you need phantom power, and if you're worried that the board you're using doesn't have it, get an external phantom unit. Of course what really matters is how it sounds. Most of the engineers approach it the same way I did at first ? does this really work? I pretty much always tell them, hey, try it for the 1st set and if you don't like what you're hearing out front, we'll throw an SM57 or Audix i5 on it during the set break. Dozens of shows later, not a single engineer has asked me to swap it out. They've comment on the isolation and by not having that open mic, the reduction in feedback danger and how much more control they have. One engineer put it best: when I asked him during the 1st set break how it sounded, he looked at me and said simply, "it sounds like a snare drum". Exactly what I wanted to hear! Based on the success of this, I'm seriously considering replacing all my Sennheiser e604 tom mics with these on my live kit. For the gigging small-medium venue drummer, I'd definitely consider these.

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