Page 1
Page 2
About Earthworks
Earthworks was formed by David Blackmer, the brilliant inventor and founder of
dbx™, where he invented new technologies in VCAs and true RMS detectors
for companders and compressors. At Earthworks his passion focused on
inventing new technologies for microphones, preamplifiers and monitor
speakers. These new advanced, patented technologies provide Earthworks
with the ability to manufacture the “next generation” of professional audio
products that will significantly outperform any other quality professional audio
equipment on the market.
Those who use Earthworks microphones, amplifiers and monitor speakers refer to
them as “stunning,” “most impressive” and “life changing.” This is because
Earthworks advanced technologies provide a dramatic increase in audible quality. Reviews of Earthworks products
in the press have been superlative. We are much more excited by the excellent results people get using our equipment.
Earthworks is a New Hampshire, U.S.A. based company that is dedicated to quality and sonic excellence. Each
Earthworks product is made with great care, meticulous attention to detail and a strong emphasis on quality. We
pride ourselves in making only the very best in professional audio equipment and it is all made right here in the U.S.A.
Warranty
We view our products as creative tools and understand the importance of reliability in the field. Earthworks provides a
two year warranty on parts and labor, unless the unit is damaged by abuse or modification.
If you have any questions or if we can assist you in any way, please contact us by email or phone from 9am to
5pm EST. We also invite you to visit our website for additional information.
Phone: (603) 654-6427
Email: sales@earthworksaudio.com
www.EarthworksAudio.com
Earthworks, Inc.
37 Wilton Road
Milford, NH 03055
USA
Page 3
E arthworks
PRECISION AUDIO
The Earthworks Difference
Most sound recordings don’t live up to the sonic experience of listening to live music. We have discovered that audio equipment with
extended high frequency response and better time domain performance will yield a substantial audible improvement and more life-like
results. The time resolution of human hearing is 10 microseconds or better, which corresponds to frequencies beyond 80 kHz. People
continue to be astonished and amazed when they use our products with extended high frequency response. While you may not be able
to hear pure tones beyond 15kHz, you will hear the difference in the time domain and impulse response of live music. If you don’t
believe us, then listen to one of our Demo CDs, or better yet, try out one of our microphones, amplifiers, or monitor speakers. The
proof is in the listening.
Why Earthworks Microphones?
Earthworks microphones are not just another version or variation of existing microphone technology — they utilize proprietary, patented,
and advanced design technologies that are not available in other microphones. There is an incredible, audible difference. Here are the
reasons why:
™
Superior Impulse Response
- the speed and accuracy in which a microphone responds to a signal with
fast rise times such as percussion, guitar and brass. This helps retain the attack, punch and excitement in recorded
music and sounds.
Fast Diaghragm Settling Time
- how long it takes a diaphragm to return to rest. If a microphone’s
diaphragm is still vibrating from previous sounds while it is trying to pick up new sounds, it adds coloration and
smearing of low-level signals that contain important minute details.
Pick-up Pattern Technology
- maintaining accuracy and uniform frequency response throughout the
pick-up pattern. With this improved uniformity there is no spotlighting, less off-axis phase problems and more
gain before feedback.
Extended Frequency Response
- capturing high frequency details and overtones is a clear advantage
when using today’s higher sampling rates for recording. Also, in most cases the higher the frequency response,
the better the impulse response and time domain accuracy.
Technological innovation
provides dramatically
superior performance.
You will be astonished when you first
use an Earthworks Microphone. You
will hear more clarity, detail and
transparency than you have ever heard
from a microphone. Musical instruments
and vocalists will sound more real,
vibrant and alive. Earthworks microphones have superior performance
because of their advanced pick-up
patterns; they work better than
conventional cardioid and omni
microphones. Our microphones come
in 20kHz, 25kHz, 30kHz, 40kHz
and 50kHz models with a variety
of advanced pick-up patterns. You
can choose the microphone that best
suits your requirements and pocketbook. Remember, the higher the
frequency response, the better the
impulse response.
Earthworks
TC
25
Earthworks
SR
25
Impulse
Response
Graph
Omni
Polar
Pattern
Cardioid
Polar
Pattern
Four times
the price
of TC
25
Competitive
Microphone
at two and
a half times
the price
of TC
25
Competitive
Microphone
at two and
a half times
the price
of SR
25
“Using your gear, I can hear what color the King's
shoes are as he sings in my studio.”
— Sonny Ryan
1
Page 4
OMNI
MICROPHONES
E arthworks
™
For Quieter Sources
QTC
50
QTC
40
The QTC series (Quiet Time Coherent) has been designed for recording
quieter sources such as vocals, strings and distant miked orchestras or choirs. Earthworks’ reputation for realism is based on these distinctive omnis.
Their degree of clarity is unparalleled. Our claim of Time Coherent Response means these models do not smear the time domain as most microphones
do. Earthworks microphones have exceptional impulse response and diaphragm settling time. They handle sound levels up to 150dB SPL with no
proximity effect or handling noise.
(see page 12 for microphone specifications)
TIME COHERENT OMNI MICROPHONES
QTC50 50kHz omni
The QTC50 is an exciting new addition to the Earthworks microphone line. It has
all of the exceptional attributes of our popular QTC1
QTC50 has an extended high frequency response to 50kHz and better impulse
response. This microphone is for the sterling purist who wants something better
than a QTC40. This new top of the line microphone has exceptional performance.
(same as QTC40). The
QTC40 40kHz omni (same as QTC1)
QTC
QTC40
30
The Quiet Time Coherent One (same as QTC40) has been called “the most accurate
recording microphone available.” For classical location recording a matched pair will
provide spectacular results. It is ideal for quieter, more detailed sources and doesn’t
have most of the problems and limitations generally associated with competitive
microphones. Its impulse response and diaphragm settling time is exceptional. Its
sound is uncolored and it has no handling noise. The QTC40 will change the way
you think about microphones.
QTC30 30kHz omni
QTC40
The QTC30 has an excellent cost/performance ratio. With a frequency
response to 30kHz and excellent impulse response, it will reproduce
sounds with incredible detail that are true and life-like, making it an ideal
and affordable choice for recording applications. Its smaller stainless steel
body is 6.5 inches long and has no handling noise.
All matched pairs
come in beautiful
wood boxes.
“In our tests, the QTC1* omnis were obviously more open, detailed, spacious,
and had a ‘realism’ for lack of a better word, that blew the B&K’s off the stage.
It is no exaggeration to say that it was no contest.”
— Leigh Howard
2
*Same as the QTC40
Page 5
E arthworks
™
MICROPHONES
OMNI
TIME COHERENT OMNI MICROPHONES
such as drums, percussion, amplified instruments and loud sound effects. The TC Series allows recording of louder acoustic sources without
overloading the preamplifier and with all of the same attributes as the QTC series in impulse response, diaphragm settling time and
extended frequency response. All models in the TC series have a flat frequency response and are time coherent, so they sound natural and uncolored.
They effortlessly handle high sound pressure levels up to 150 dB SPL while simultaneously capturing subtle details.
The TC series (Time Coherent) is designed for recording louder sources
(see page 12 for microphone specifications)
TC30 30kHz omni (same as TC30K)
The TC30 (same as TC30K) is a general-purpose omni. It is an ideal choice for close
miking louder sources like guitar, bass, piano, horns and percussion. The TC30 is
very popular for drum overheads. It is incredibly clean up to 150 dB SPL while
simultaneously capturing subtle details. Its fast, clean impulse performance yields a
remarkably transparent sound. It is an excellent room mic for ambiance in the studio
and for recording rehearsals and performances. It has no handling noise, no proximity
effect and is very forgiving in terms of placement.
TC25 25kHz omni
For Louder Sources
TC
30
TC
25
The new TC25 was designed specifically for drums and is a model that comes in the
Earthworks DrumKit™ System
brother and has the same attributes as the TC30; exceptions being it goes to
25kHz, will handle 145 dB SPL, is smaller in size, weighs less, and costs less.
The performance vs. price ratio of this microphone is excellent. If you want to hear
one in action, get a free DrumKit™ Demo CD (information on pages 6 & 7).
(see pages 6 & 7). The TC25 is the TC30’s little
TC20 20kHz omni (same as SRO)
The TC20 (same as SRO) is our least expensive general-purpose omni with high frequency
response to 20kHz. Its sound and performance is similar to the TC30 or TC25 and
covers the same range of applications. For live sound the TC20 can be used for close
miking stationary sources like instrument amps, drums or close-miked brass. A TC20 under
the strings of a standup bass or inside a kick drum will produce amazing sound. A pair of
TC20s connected to a stereo recorder will provide exceptional results for recording rehearsals
and performances. The TC20 is great for general studio use and is an exceptional value.
QTC30
QTC30
TC
20
“I just wanted to drop you a line to tell you that I LOVE those
microphones! I used both SROs* in a near coincident pattern
about 6" from the instrument and it just sounded wonderful.”
— Bill Thompson
*Same as the TC20
3
Page 6
CARDIOID
MICROPHONES
RECORDING & LIVE PERFORMANCE
Earthworks cardioid microphones are unlike all the rest, as they have patented
near-perfect cardioid patterns. Sound across the entire front hemisphere is remarkably uniform and they are flatter at 90 degrees than most
microphones are on-axis. This results in uncolored off-axis rejection for recording and greater gain before feedback for live sound. They effortlessly
handle up to 145dB SPL while simultaneously revealing subtle details that other microphones mask. All SR models are a superb value in
performance and are exceptional for both live performance and recording applications. (see page 12 for microphone specifications)
E arthworks
™
For Quiet and
Loud Sources
SR30
SR30/HC
SR25
SR20
SR30 30kHz cardioid (same as SR77)
The SR30
microphones. At 6 inches it sounds as onmi-like as a cardioid can. The off-axis rejection is substantial
yet uncolored. Its impulse response is very fast and smooth, and the sound stays the same across the
entire front hemisphere of pickup. In the studio or on the stage the SR30 is an ideal choice for a variety
of acoustic instruments including sax, flute, trumpet, guitar, piano and drums. It is superior for choir
because it doesn't spotlight; rather it picks up an entire section or an area with no hot spots.The SR30
is popular among concert tapers because of its open uncolored sound, and among jazz enthusiasts for its
ability to capture explosive performances while retaining the subtle nuances of artistic expression.
(same as SR77) is a remarkable cardioid that maintains most of the characteristics of our omni
SR30/HC 30kHz hypercardioid (same as SR78)
The SR30/HC (same as SR78) offers exceptional directional performance for guitar, sax, flute, drums, bass,
and vocals. It is ideal in any application where you want natural sound combined with more rejection, or
when you want to reduce unwanted room sound. It can pick an acoustic instrument, like a guitar, out of an
ensemble while still sounding detailed and life-like. It is a powerful tool for broadcast and vocal production
applications because its clarity and detail enhances verbal communication. If you need open, uncolored clarity
combined with uncolored rejection, try an SR30/HC and listen to what it doesn’t pick up.
SR25 25kHz cardioid
Cardioid
SR30
30, SR30/HC
SR
The new SR25 was designed specifically for drums and is a model that comes in the
Earthworks DrumKit™ System (see pages 6 & 7). The SR25 has a brilliance that is ideal for
percussion, Leslie, guitar and brass. It goes to 25kHz, will handle 145 dB SPL, is smaller
in size than the SR30, weighs less and costs less. It is a real performer and has an excellent
price/performance ratio. If you would like to hear one, get a free DrumKit™Demo CD
(information on pages 6 & 7).
SR20 20kHz cardioid (same as SR69)
As a vocal microphone the SR20 (same as SR69) is spectacular. It will accurately capture a voice with the
same precision and quality up to 90 degrees off-axis. This means you can have the same pristine sound quality
at the front and side of the microphone. Up close the SR20 is warm, not boomy while its unique windscreen
assembly eliminates the popping of P’s. Its patented design and uniform polar response will provide more gain
before feedback than other microphones. Simply unscrewing the windscreen reveals a whole other persona of
the SR20. It then becomes a great instrument mic, outstanding for piano, guitar, drums, brass, woodwinds and
other instruments including kick drum. The SR20 will handle up to 145dB SPL and is an exceptional, versatile
high quality microphone that is quite affordable.
“What I like about the SR69* is that it has the acoustic transparency of an omni with the offaxis rejection of a cardioid. Its pick-up pattern is loose enough that it has very little coloration
across a large enough area to be easy to use for vocals and acoustic instruments. I have recorded
entire albums using the SR69* for all acoustic sources.”
4
*Same as SR20”
— Fred Bogert, Briarpatch Audio Productions
Hypercardioid
SR30/HC
Page 7
E arthworks
™
FLEX MIC SERIES
CARDIOID
FOR PODIUM, CHOIR AND INSTRUMENTS
and intelligibility. Their patented pick-up pattern allows an orator to move up to 90 degrees off-axis and still be heard with the same
exceptional sound quality. This is a real advantage for church, civic and corporate podium speech applications. As an added plus, the Flex Mics
smooth off-axis response will provide more gain before feedback. The flexible neck allows adjustment of microphone positioning with no handling noise.
Earthworks Flex Series microphones offer exceptional sound quality
Cardioid
FM720
FM
720/
HC
This extra long model (27 inches) is ideal for applications where
extra length in a gooseneck is required. It can also be used as a
choir mic or to pick up a group of mixed musicians with minimal
visibility. Its flexible neck allows it to stand cobra-like on a desktop
without the use of a microphone stand. The FM720 is superb for
extra flexible reach and is available in cardioid and hypercardioid.
FM Series
FM Series
FM500
FM
500/
HC
At 19 inches, this is just the right length for most
podium and church applications. The FM500’s
swan-like neck can be adjusted with no handling
noise and it will stay where you put it. It is also
the perfect size to position unobtrusively in an
instrumental ensemble or in front of a choir for
sound reinforcement or recording. Available in
cardioid and hypercardioid.
FM360
FM360/HC
The FM360 is powerfully equipped to totally dominate in
situations that require a very low profile (only 13 inches
long). It provides superb sound in tight places. The FM360
will effortlessly handle applications from tall lecterns to
courtrooms. Available in cardioid and hypercardioid.
Hypercardioid
FM Series
Flex Mics are intended for podium use, hanging
choir or orchestra microphones. Their sound quality is
comparable to our other high quality cardioids for a
variety of applications such as vocals, piano, acoustic
instruments and even drums. They are flat from
50Hz to 20kHz within
handle up to 145dB SPL. In addition to smooth
frequency response (on and off-axis), they have
impressive impulse response and diaphragm settling
time with a pristine sound quality that is not usually
available in gooseneck or podium microphones.
Earthworks Flex Mics facilitate high intelligibility
and clear audible communication.
(see page 12 for microphone specifications)
+
2dB at 6 inches and will
“The FM360 mics were about 3 feet or so from the orator, (A. Busch III doesn't like shadows
on his script), the audience was 6000, the mics were in the sound field of the main speakers,
and yet I had great sound quality, more than adequate gain before feedback... thanks for a
great product.”
— Chris Gerber
5
Page 8
DRUM
MICROPHONES
E arthwo
TC25
SR25
KickPad™
The typical practice of miking drums normally involves the use of five to seven mics,
or more. While developing a new 25kHz Series of microphones for percussion we tried using only two mics for overheads and one for kick drum. The result
absolutely blew us away. We then made a comparative recording of the same drum set using seven other mics that are some of the industry favorites for miking
drums. The difference in detail and sound quality of the three Earthworks mics vs. the seven industry favorites was staggering. The Earthworks microphones
captured every nuance of sound from each piece of the drum set with such an exceptional clarity and cohesiveness that it sounded like a “live” set of drums, not
a bunch of pieces. This discovery led to the development of the innovative Earthworks Drumkit™System, providing a dramatic improvement in the sound quality
of miking drums. This is truly astonishing – you must hear it for yourself.
DRUMKIT™ SYSTEM
PRECISION DRUM
MICROPHONES
The Earthworks
The new 25kHz series of microphones was designed to be used for percussion. The TC25 omni has
a frequency response of 9Hz to 25kHz and the SR25 cardioid response is 50Hz to 25kHz. Both
models will handle up to 145dB SPL. The DrumKit™ microphones will also provide stunning results
on a wide variety of instruments and vocals for recording or live sound. They are unlike any other
microphones on the market, because of our proprietary and patented technologies. (see page 12 for
microphone specifications)
DK
25
The Earthworks
DrumKit™System
comes in two
models. The
DK25/R is for
“Recording” and
has two TC25 omnis for
overheads, an SR25
cardioid for kick drum, a
KickPad™and a windscreen.
/R
(Recording)
TC25
TC25
SR25
KickPad™
System will likely
way drums are miked.
DK
25
(Live performance)
/L
SR25
SR25
SR25
KickPad™
25/L is for “Live
The DK
Performance” and has three
SR25s: twofor overheads
and one for kick drum;
a KickPad™and a windscreen.
The patented cardioid
pattern on the SR25 provides
a more uniform off-axis response and
has less susceptibility to acoustic feedback.
Both versions come in the attractive solid
wood carrying case.
The*KickPad™
A great kick drum microphone needs to be designed and optimized
for that specific purpose. This means the microphone is great for kick
drum and nothing else. To create a more versatile product we designed
the kick drum optimization in an external XLR package - the KickPad™.
Just plug a KickPad™ into the mic line going to the SR25 kick drum mic for magnificent results.With the
KickPad™removed, you can use the same SR25 microphone for most anything. All three high quality
Earthworks microphones in the DrumKit™ System can be used for other instruments and vocals.
Patent Pending
*
The KickPad" will also improve
the sound of other popular
microphones used for kick drum.
“I could not be more pleased with the new Earthworks™ 25 Series microphones. The SR25s are great for
drum overheads. They have just the right amount of crispness, some air, and very little kick drum leakage...
the drums sound great. I use a pair of TC25s on my grand piano and this is the best it has ever sounded...
just fantastic. I can’t find anything I don’t like about these mics.”
6
—Dan Penn, Songwriter/Producer, Nashville, TN
Page 9
™
MICROPHONES
PURE SOUND
An Earthworks microphone is not just another microphone. Most every microphone on the
market is just another version or variation of the same technology. In contrast, Earthworks
utilizes proprietary, patented technology that will provide quality and performance other
microphones cannot match. We are superior in several areas:
• Impulse Response - the speed and accuracy in which a microphone
responds to a signal with fast rise times
• Diaphragm Settling Time - how long it takes a diaphragm to return
to rest
• Pick-up Pattern Technology - maintaining accuracy and uniform
frequency response throughout the pick-up pattern
• Extended Frequency Response - capturing high-frequency
details and overtones
For a graphic representation of the above, in comparison to competitive microphones, refer to the impulse
charts and polar response charts on page one.
DRUM
TC25
SR25
SR30mp
To get your free DrumKit™System Demo
CD and brochure, call (603) 654-6427,
visit www.EarthworksAudio.com or send
email to: drumkit@earthworksaudio.com
SR
25mp
MATCHED PAIRS
Recommended for Drums
For years, discerning recording engineers have been using
Earthworks matched pairs of microphones for drum overheads with
exceptional results. The TC30 and SR30 (same as SR77)
matched pairs are very popular for this purpose. The new TC25s
and SR25s also come in matched pairs and are
less expensive than the TC30s. Our most economical
TC25mp
All microphones in the QTC, TC and SR series are available
in matched pairs, with exception to the SR20. The QTC40s
TC30mp
as drums or amplified instruments are achieved with the
matched pair is the TC20mp (same as SRO box set).
(same as QTC1s) have been used
in matched pairs for acoustic instrument recordings in the studio and on-location. Just choose
the microphones that best suit your application and budget.
For quieter sources and distant miking with omnis the QTC
Series is ideal. Excellent results
with omnis for louder sources such
TC Series. For live sound or recording
applications requiring a cardioid (for quiet
and loud sources) the SR Series will provide
excellent results. All matched pairs come in
attractive wood boxes.
(see specifications on page 12)
KickPad™
SR25mp
SR30mp
KickPad™
plugged
into mic line.
TC20mp
SR30/HCmp
“I used the KickPad™ on a wide variety of preamps and kick drum mics including the SR25. It was amazing,
because the input channel was flat and no matter what mic or preamp I used, the kick drum sound was right
on and I didn’t need to add EQ or anything. In addition, the KickPad™ has the same effect as a Pultec™ PEQ,
at a fraction of the cost.
— Tom Size, Tomland Studios, Pacheco, CA
7
Page 10
MEASUREMENT
Earthworks has become the accepted standard for affordable, reliable reference
and measurement microphones. These microphones are accurate in the time domain and frequency response. Earthworks measurement microphones are optimized
for clean, fast impulse performance. This dictates an accurate wideband frequency response. They have virtually no handling noise and are remarkably stable with
respect to temperature and atmospheric conditions. Our M Series measurement microphones are used by SMAART™, MLSSA™, Spectrafoo™, TEF™ and
RTA in addition to acoustic measurement systems manufactured by dbx, EAW, DEQX and others. (see page 12 for microphone specifications)
Measurement
Microphones
M50 50kHz omni (same as M550)
M50
M30
MICROPHONES
50 kHz Beyond the brick wall 3Hz to 50 kHz +1/-3dB
The M50 (same as M550) is our top of the line measurement microphone with
extraordinary impulse response for those who have stringent requirements and
demand the very best. This microphone provides laboratory grade accuracy for
research “beyond the brick wall.” Requires 48V phantom power.
E arthworks
MEASUREMENT MICROPHONES
™
M30BX
M30 30kHz omni
30 kHz Clean and Reliable 5Hz to 30 kHz +1/-3dB
The M30 is a very cost effective reference microphone for SMAART™,
MLSSA™, Spectrafoo™, TEF™ & RTA and all “audio band” measurements.
It is very clean and has a fast impulse response. Requires 48V phantom power.
M30BX 30kHz omni
Battery Powered M30 with built-in preamp
9Hz to 30kHz +1/-3dB
The M30BX features a built-in preamplifier with 14dB gain that will allow it to
drive most computer sound card inputs directly. It is perfect for field measurement
with a laptop computer and also sounds great for recording. A single 6V (28L
type) battery provides approximately 300 hours of M30-like performance. An XLR
to RCA female adapter and microphone battery are included. You can easily purchase
28L type replacement batteries wherever watch and hearing aid batteries are sold.
M
30, M30BX
M30, M30BX
M50
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
3 Hz to 50 kHz+1/-3dB
Omnidirectional
30mV/Pa
(-30.5 dBV/Pa)
48V Phantom,
10mA
142 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
22dB SPL equivalent
(Aweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
M30 M30BX
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
5 Hz to 30 kHz+1/-3 dB
Omnidirectional
8mV/Pa
(-42 dBV/Pa)
48V Phantom,
10mA
150 dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
27dB SPL equivalent
(Aweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
9 Hz to 30 kHz+1/-3dB
Omnidirectional
8mV/Pa (-42 dBV/Pa) or
40mV/Pa (-28dBV/Pa)
with 14dB gain
6V battery -28L (2CR-1/3N)
Lithium or 4 LR44 Alkaline
(approx. 300 hours work time)
140dB SPL, 126dB
SPL w/14dB gain
XLR (PIN 2+) drives balanced
or unbalanced input, drives
most sound card inputs directly
600Ω between pins 2&3
27dB SPL equivalent
(Aweighted)
220mm x 23mm
(8.65 x .910 inches)
180g (.4lb)
M30BX shown open
for replacing battery and
access to gain switch.
8
Page 11
E arthworks
™
PREAMPLIFIERS
ZDT Series
ZERO DISTORTION TECHNOLOGY
The ZDT preamplifier series is based on all new discrete circuitry
designed by David Blackmer, establishing a new standard of sonic excellence in electronics. This exacting new standard provides frequency
response from 1Hz to 200kHz +0.5dB, an incredible rise time of 0.27 microseconds and distortion of less than 1 part per million (0.0001%)
- eliminating all possibility of sonic degradation. These wide frequency band preamps are so fast, so clean and so transparent that you don't even
know they are there. It is like plugging your microphone into a piece of “wire with gain.” You will hear clarity and detail with the ZDT preamps that
is not available in any other preamp at any price. Check one out for your studio or other applications that demand the highest quality electronics.
Zero Distortion Preamp Features
• The primary gain path (XLR input-stepped gain-XLR output) is entirely differential
(this preamp is balanced all the way through, from input to output)
• Precision stepped gain switch from 5 to 60 dB in 5 dB steps
• 48-volt phantom power switch with LED indicator on each channel
• Variable gain control allows 20dB of gain reduction from stepped switch setting to a separate output amplifier and connector
• Standby switch mutes the output while the microphone remains powered
• Clip indicator LED shows imminent overload condition (10% below clipping) as well as actual clipping
• Polarity reversal switch on each channel
• Power on LED indicator
1021
1022
1024
Frequency
response
Impulse
response
Distortion
(all types)
Enoise
(input)
Translation of
Enoise to EIN
Slew rate
DC offset
Power
requirement
Input
Input
Impedance
Outputs
Dimensions
Weight
“Like Wire With Gain”
2 Hz to 100kHz within +0.1 dB, 1 Hz to 200kHz within ±0.5dB (50ohm source)
1% settling time - 1.4 µs; square wave rise time - 0.27µs
XLR stepped output- less than 1 ppm (0.0001 %) Variable output- 0.001 %
1/2
1.6nV/Hz
-132dBV@20dB gain, -l40dBV@40dB gain, -143dBV @60dB gain.
(20Hz to 20kHz, A weighted) Typical current noise spectral density @ input 1.5pA/Hz
22V/µs
servo balanced to ±1 mV typical
120V AC (100V, 240V available), standard IEC connector (supplied), internal 250mA 250V spare fuse included
XLR balanced transformerless input (pin 2 +) one per channel
10K ohm with phantom power on, 100K ohm with phantom power off
XLR (differential, Pin2+) per channel from stepped gain control, 1/4 inch TRS (tip+, ring ref.)
from variable gain control, balanced, single ended
1024, 1022 — 1 rack space 1.75" x 19" x 10.375" (1021 is 1/2 rack space)
1024, 1022 6lb. (shipping: 10lb.), 2.7 kg (shipping: 4.5 kg); 1021, 4lb. (shipping: 7lb.), 1.8kg (shipping 3kg)
typical spectral density @ 20dB gain; .86nV/Hz
1/2
@ 40dB gain; .6nV/Hz
1/2
1/2
@ 60dB
“The Earthworks ZDT preamp is 60dB of nothing.
I’ve never heard gain so pure.”
— Kris Kervic
9
Page 12
MONITORS
Earthworks Sigma 6.2 40kHz loudspeakers are an acoustic reality check
and perfect for all critical listening. They allow you to hear all of the detail in your recordings; detail previously masked by the inaccuracies of
conventional loudspeakers. The Sigma 6.2s apply the Earthworks principles of time coherent response and impulse response to the playback system
with breathtaking results. They will not improve the sound of your recordings - they will tell you exactly what you have. In conjunction with
Earthworks microphones and preamps, the Sigma 6.2 matched pair will allow you to hear the source with accuracy and honesty for the very first time.
E arthworks
40kHz PRECISION MONITORS
™
Sigma 6.2
Sigma 6.3
Sigma 6.2
40kHz time coherent audio reference
The New Standard
of Excellence
There is great detail and
quality in construction
of the Sigma Monitor
Speakers; all components
are custom selected and
integrated, creating
matched pairs; point-topoint crossover construction; heavy gauge air core
inductors; fast clean
polypropylene capacitors;
the best tweeter we’ve ever measured;
die-cast aluminum frame 6.5” woofer; goldplated insulated WBT binding posts;
precision machined custom hardware;
high efficiency internal absorber; high
quality WBT silver solder and OFC wire.
The Sigma 6.2s are sold as matched pairs
or more). Their imaging is pristine and definitive. The front-to-back
(
or matched sets of three
depth of their image is unparalleled. The way they sit in the
room is more natural and less problematic than with most loud-
speaker enclosures. Their unique port design provides tight
and accurate bass reproduction and doubles as a convenient
handle. The bass sounds incredibly real because the low
frequencies are radiated into the room in the correct
relationship to the rest of the signal. The Earthworks
Sigma 6.2 is very close to being the perfect sound field
reproduction system.
Features:
• Extended frequency response to beyond 40kHz
• Matched pairs or matched sets of 3 or more
• Incredible front-to-back imaging
• Unmatched impulse response
• Full magnetic shielding
• No bass peak in the low frequency response
• Extremely smooth response
• No listening fatigue
• Optimum listening distance: 3' to 9' (1m to 3m)
• Available in handsome black finish
Sigma 6.3
40kHz time coherent audio reference
with dual low frequency drivers
The 40kHz Sigma 6.3 was designed using all of
the technology and high quality construction of its
predecessor, the Sigma 6.2. The new Sigma 6.3
features dual low frequency drivers to achieve
more powerful low
frequency response.
The Sigma 6.3 has
the same impresssive
impulse response and
imaging. The optimum
listening distance on
the Sigma 6.3 is 5
to 18 feet. This is
the monitor system
for the studio or
listening facility of
those who demand
only the very best.
Frequency
response
Impedance
Sensitivitiy
Power
Handling
Dimensions
H x W x D
Weight
40Hz to 40kHz +2dB
Ω nominal
4
87dB 1W/1m
150 watts continuous
program, 400 watts peak
22” x 9.5” x 19”,
(56.5cm x 24cm x 48cm)
52 lbs. (shipping: 58 lbs.),
24 kg (shipping: 26.5 kg)
Frequency
response
Impedance
Sensitivitiy
Power
Handling
Dimensions
H x W x D
Weight
40Hz to 40kHz+2dB
Ω nominal
8
87dB 1W/1m
150 watts continuous
program, 400 watts peak
16.75” x 9.5” x 15.5”,
(42.5cm x 24cm x 39.5cm)
32 lbs. (shipping: 38 lbs.),
14.5 kg (shipping: 17 kg)
10
“I just had a chance to audition a pair of Sigma 6.2s for a week and you will have to
pry them from my cold, dead hands if you want them back.”
— Steve Devino, Studio Owner
Page 13
E arthworks
EARTHWORKS AUDIO EXTRAS
™
ACCESSORIES
SRW1
Black Aluminum
Windscreen for
SR20, SR30, &
SR30/HC
OMW2
SRW2
SRW3
Foam Windscreen for Flex Mics
(all models) & SR25
Stainless Steel
Windscreen for
SR30 & SR30/HC
EWB1, EWB2, EWB3
OMW1
Foam Teardrop Windscreen for
Omni QTC, TC & M Series Mics
EWB4
Wood box for one or two
Mics (TC20, TC25, QTC30
& SR25)
ADP1
1/2” calibrator
adapter for
measurement mics
A CCESSORIES
100 mile per hour Foam
Windscreen for TC, QTC & M
Series Mics
Wood box for one Mic & Windscreen
(SR30, SR30/HC, R25 & SR20), one
omni mic (QTC50, QTC40, QTC30 &
SR25), or, one or two M30BX mics
ECB1
Cherry Box for two Mics (QTC40, QTC50,
TC30, SR30 & SR30/HC)
MC1
Standard Microphone
Clip (QTC, TC, SR &
M Series)
ATP1
MC2
Standard Shock Mount
Microphone Clip
(QTC, TC, SR & M
Series)
Acrylic Tube for one
Mic (QTC, TC, ST
& M Series)
11
Page 14
TECHNICAL
SPECIFICATIONS
E arthworks
™
QTC50
Frequency
3Hz to 50kHz +1/-3dB
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
600
output load
22dB SPL (A weighted)
Noise
Dimensions
L x D
Weight
SR30
SPECIFICATIONS
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
30Hz to 30kHz+1.5dB
600
22dB SPL equivalent
This specifications section reveals the results of our research and development
SPECIFICATIONS AND DIMENSIONS
efforts, in addition to our strong commitment to manufacture the very best professional audio products that money can buy. Our superb product
performance is due to proprietary advanced technologies, precise manufacturing techniques and tolerances, and a total commitment to product
reliability. Dedicated employees work hard to insure that every Earthworks product meets only the highest of exacting standards. The following
specifications are proof of the incredible Earthworks difference.
Omnidirectional
30mV/Pa
(-30.5 dBV/Pa)
48V Phantom,
10mA
142 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
@6” (15cm)
Cardioid
10mV/Pa
(-40 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
(Aweighted)
212mm x 22mm
(8.4 x .860 inches)
225g (.5lb)
QTC40
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
4Hz to 40kHz +1dB
Omnidirectional
30mV/Pa
(-30.5 dBV/Pa)
48V Phantom,
10mA
142 dB SPL
XLR (PIN 2+)
600Ω between pins 2&3
22dB SPL (A weighted),
24.5 dB SPL (Unweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
QTC30
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
6Hz to 30kHz +1/-3dB
Omnidirectional
30mV/Pa
(-30.5 dBV/Pa)
48V Phantom,
10mA
142 dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
22dB SPL (A weighted),
24.5 dB SPL (Unweighted)
165mm x 22mm
(6.25 x .860 inches)
160g (.35lb)
SR30HC SR25 SR20
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
30Hz to 30kHz+1.5dB
@ 6” (15cm)
Hypercardioid
10mV/Pa
(-40 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
22dB SPL equivalent
(Aweighted)
212mm x 22mm
(8.4 x .860 inches)
225g (.5lb)
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
50Hz to 25kHz+2dB
@ 6” (15cm)
Cardioid
10mV/Pa
(-40 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
22dB SPL equivalent
(Aweighted)
165mm x 22mm
(6.5 x .860 inches)
160g (.35lb)
TC30 TC25
Frequency
response
Polar
Pattern
Sensitivity
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
9Hz to 30kHz +1/-3dB
Omnidirectional
8mV/Pa
(-42 dBV/Pa)
48V Phantom,
10mA
150dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
27dB SPL equivalent
(Aweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
50Hz to 20kHz+2dB
@ 6” (15cm)
Cardioid
10mV/Pa
(-40 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
22dB SPL equivalent
(Aweighted)
212mm x 22mm
(8.4 x .860 inches)
238mm x 22mm
with windscreen
135g (.3lb)
Frequency
response
Polar
Pattern
Sensitivity
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
FM360 & FM360/HC
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
9Hz to 25kHz +1/-3dB
Omnidirectional
8mV/Pa
(-42 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
27dB SPL equivalent
(Aweighted)
165mm x 22mm
(6.5 x .860 inches)
160g (.35lb)
50Hz to 20kHz+2dB
@ 6”(15cm)
Cardioid or
Hypercardioid
10mV/Pa
(-40dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
22dB SPL equivalent
(Aweighted)
360mm x 22mm
(13 x .860 inches)
120g (.25lb)
TC20
Frequency
10Hz to 20kHz +2dB
response
Polar
Omnidirectional
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
FM500 & FM500/HC
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
8mV/Pa
(-42 dBV/Pa)
48V Phantom,
10mA
145 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
27dB SPL equivalent
(Aweighted)
165mm x 22mm
(6.5 x .860 inches)
160g (.35lb)
50Hz to 20kHz+2dB
@ 6”(15cm)
Cardioid or
Hypercardioid
10mV/Pa
(-40dBV/Pa)
48V Phantom,
10mA
145dB SPL
XLR (PIN 2+)
600
Ω between pins 2&3
22dB SPL equivalent
(Aweighted)
500mm x 22mm
(19 x .860 inches)
135g (.3lb)
SPECIFICATIONS
12
FM
720 & FM720/HC
Frequency
50Hz to 20kHz+2dB
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
Output
Minimum
output load
Noise
Dimensions
Weight
input
L x D
@ 6”(15cm)
Cardioid or
Hypercardioid
10mV/Pa
(-40dBV/Pa)
48V Phantom,
145dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
22dB SPL equivalent
(Aweighted)
720mm x 22mm
(27 x .860 inches)
160g (.35lb)
Sigma 6.2
Frequency
40Hz to 40kHz +2dB
response
8
Impedance
Sensitivitiy
Ω nominal
87dB 1W/1m
10mA
M50
Power
Handling
Dimensions
H x W x D
Weight
Requirements
Peak acoustic
Frequency
3Hz to 50kHz +1/-3dB
response
Polar
Pattern
Sensitivitiy
Power
input
Output
Minimum
600
output load
22dB SPL equivalent
Noise
Dimensions
L x D
Weight
150 watts continuous
program, 400 watts peak
16.75” x 9.5” x 15.5”,
(42.5cm x 24cm x 39.5cm )
32 lbs. (shipping: 38 lbs.),
14.5 kg (shipping: 17 kg)
Omnidirectional
30mV/Pa
(-30.5 dBV/Pa)
48V Phantom,
10mA
142 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
(Aweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
M30 M30BX
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
5Hz to 30kHz +1/-3dB
Omnidirectional
8mV/Pa
(-42 dBV/Pa)
48V Phantom,
10mA
150 dB SPL
XLR (PIN 2+)
Ω between pins 2&3
600
27dB SPL equivalent
(Aweighted)
229mm x 22mm
(9 x .860 inches)
225g (.5lb)
Frequency
response
Polar
Pattern
Sensitivitiy
Power
Requirements
Peak acoustic
input
Output
Minimum
output load
Noise
Dimensions
L x D
Weight
9Hz to 30kHz +1/-3dB
Omnidirectional
8mV/Pa (-42 dBV/Pa) or
40mV/Pa (-28dBV/Pa)
with 14dB gain
6V battery -28L (2CR-1/3N)
Lithium or 4 LR44 Alkaline
(approx. 300 hours work time)
140dB SPL, 126dB
SPL w/14dB gain
XLR (PIN 2+) drives balanced
or unbalanced input, drives
most sound card inputs directly
600Ω between pins 2&3
27dB SPL equivalent
(Aweighted)
220mm x 23mm
(8.65 x .910 inches)
180g (.4lb)
Sigma 6.3
150 watts continuous
Frequency
40Hz to 40kHz+2dB
response
Impedance
Sensitivitiy
4Ω nominal
87dB 1W/1m
Specifications are subject to change without notice.
Power
Handling
Dimensions
H x W x D
Weight
program, 400 watts peak
22” x 9.5” x 19”,
(56.5cm x 24cm x 48cm )
52 lbs. (shipping: 58 lbs.),
24 kg (shipping: 26.5 kg)
1024, 1022 & 1021
Frequency
response
Impulse
response
Distortion
(all types)
Enoise
(input)
Translation of
Enoise to EIN
Typical current
noise spectral
density@input
Slew rate
DC offset
Power
requirement
Input
Input
Impedance
Outputs
Dimensions
H x W x D
Weight
2Hz to 100kHz
1Hz to 200kHz +0.5dB (50 ohm source)
1% settling time - 1.4µs; square wave
rise time - 0.27µs
XLR stepped output-less than 1 ppm (0.0001%)
Variable output- 0.001%
1/2
typical spectral density@ 20dB gain;
1.6nV/Hz
l/2
86nV/Hz
@40dB gain; .6nV/Hz 1/2 @ 60dB
-132dBB@20dB gain, -140dBV@40dB gain,-143dBV
@60c1B gain. (20Hz to 20kHz, A weighted)
1.5pA/Hz
22V/µs
servo balanced
to ±1 mV typical
120V AC (100V, 240V available) standard IEC connector
(supplied) Internal 250mA 250V spare fuse included
XLR balanced transformerless input
(pin 2+) One Per Channel
10K ohm with phantom power on,
100K ohm with phantom power off
XLR (differential (balanced), Pin2+)
per channel from stepped gain control
1 rack space 1.75
(1021 is 1/2 rack space)
1024,1022 - 6lb. (shipping: 10 lb.), 2.7 kg (shipping: 4.5 kg)
1021- (shipping: 7lb.), 1.8 kg (shipping: 3 kg)
+
0.1dB
1/2
≤ x 19”x 10.375
Page 15
Loading...