As part of Sennheiser’s continuing “20 years of Evolution” celebration, the Mic of the Month for August is the newly announced e600 DrumCase
e600 drum mics on case

AUGUST 2018 pricing only

Sennheiser e600 DrumCase $1,099 – via Factory Sound webstore 
Recommended Retail Price (RRP*) for e600drumcase is $1,699

What microphones are included?

  • 1 x e602-II (kick drum mic)
  • 4 x e604 for toms and snares
  • 2 x e614 condenser microphones (overhead, hi-hat)

What’s the word on these mics?

Here at Factory Sound, we’re often drawn to classic mics such as Sennheiser MD421, Beyerdynamic M88TG, Electrovoice RE20, along with more contemporary solutions, like Shure Beta91A and Beta92, and Sennheiser’s mighty (unkillable) e904 tom mic. As for the overheads.. now there’s a happy place we can get lost in for ages..
BUT if it’s a simple, great value, reliable kit you’re after, this e600 DrumCase is definitely worth a closer look. Here’s a snip of a discussion between two of the co-developers of Sennheiser’s evolution series:
(taken from Sennheiser 20 Years of evolution:
Anyone who is after proper drum set miking for their next recordings will find themselves superbly equipped if they choose the e 600 Drum Set. Each of the microphones has inherited special characteristics from the last few decades of music history.
Miking the drum set for your first demos or studio projects? The first gigs? The large e600 Drum Set is ideal for this.
Co-developers and evolution experts Heinz Epping and Sebastian Schmitz nod : “In some ways the e 600 is rough and straight but always with a convincing sound.” A look into the set:

e 602-II: kick drum marvel

In acoustic terms, a kick drum/bass drum is an inhospitable environment, because very high levels of resonance are generated in the internal space. “If you simply hold a microphone inside it, it sounds nothing like what you would expect”, clarifies Schmitz. If miked directly, the high degree of resonance in the internal space would result in an unpleasant sound.
“The trick”, says Schmitz, “is getting a sound like you would expect: the bass ought to make your stomach flutter – and there should be a fine attack in the upper ranges.” The e 602-II is geared towards precisely that: Its frequency response curve is constructed such that disruptive feedback interferes with neither the solid nor the fine part of the drum sound.
In the bass range, the e 602-II is in fact designed to be more aggressive than the e 902. In studio settings, the 600 series delivers its beloved and typically solid impact. For live stages, the rich foundation in the lower frequencies often has to be cut back a bit in order to avoid uncontrolled bass response. “But with a recording – with a recording that sounds amazing”, says Schmitz.

e 604: Proven all-rounder on the tom and snare

Descendant of the legendary MD 421
Ultimately, the e 604 is following the example of the legendary MD 421, which revolutionized speech and music recordings in the 1960s. Its achievements then and now on the toms remain unforgotten today by bands big and small. Its nickname was appropriate back then and still applies today: “King of the tom mics”.
However: the MD 421 was not really that camera-friendly or visually appealing on toms or snares. The stands, the large design – none of this was very suitable for use on live or broadcasting stages. This gave rise to the MD 504: the first instrument-specific and camera-friendly, compact microphone from Sennheiser. “The idea was to construct only what was necessary around the capsule”, recalls developer Heinz Epping.

But what, then, distinguishes the e 604 from the more professional 904? The XLR connection of the e 904 is gold-plated, has been rotated by 90 degrees and thereby somewhat more convenient to handle. The housing is made from metal. In the frequency response curve, the “nose” upwards of 2,000 hertz is missing. The e 904 is very much more clearly part of an entire series which, since its set-up, has been delivering a very solid overall mix.
“But this doesn’t change the strengths of the e 604”, says Schmitz. “Anyone who mikes their drum set properly for the first time will get an extremely dynamic sound and impact-resistant design.” And there is that smile again. As though he had the right mix in his ears. Just right.

e 614: Withstands high sound pressure levels and responds rapidly

Cymbals produce extremely dynamic, impulsive sound waves and need lots of character in the high frequencies. The two e 614s – which are small-diaphragm condenser microphones – are perfect for meeting this challenge. They remain precise even at extreme sound pressure levels.
Above all, however, their sound is impressive thanks to the outstanding impulse response. The e 614s follow the challenging dynamics with an extremely rapid transient response.

But what if I want a different kick drum mic?

Hold up there.. it’s not like a pineapple on pizza situation, where the nice pizza shop owner lets you order without pineapple.
Actually, a nice pizza shop owner wouldn’t put pineapple on a pizza in the first place, but back to the question…
There are no additions or substitutions available for this kit – and since the foam has been cut specifically for the e600 series, it makes sense too.
If you’ve got questions about e600 DrumCase, get in touch with Factory Sound, and we’ll make sure you get looked after
*Any mention of Recommended Retail Price in this article is reference to the price suggested by each relevant authorised Australian importer or wholesaler for resale in Australia. The special prices mentioned are set by Factory Sound, and can not be continued once stock has depleted. All prices are $AUD and including GST. E&OE.