e 900: evolution reaches a peak

The first field tests for the ‘evolution 900’ family began in 2004, 6 years after the launch of the evolution series. The 900 family was intended to continue evolution’s success story in the premium and professional segment. The developers at Sennheiser did not rely merely on measurement results and experience in electroacoustics but also on ‘golden ears’: in numerous field tests, the series’ sound was adapted for professional stage use. The aim: every microphone should deliver a solid sound immediately after being connected, which can then be adjusted according to the preferred style and taste. With 3 vocal and 6 instrument microphones, the premium series covers a substantial proportion of common live applications. The e 902 was part of a cultural revolution: the idea not of having a frequency response curve always be as neutral as possible but rather of interpreting it so as to help achieve a target sound – this was new to Sennheiser.

Get the bass sound just right: there are lots of sweet spots for the e 902. And a surprise for fans of impressive tom sounds.

Getting to know the premium class of the evolution series has never been more affordable – because the bass specialist, the e 902, is the microphone for the month of March. We suggest three positions for the first set-up on the bass drum. In addition, our developers reveal a rather unusual application for the e 902 (with a surprising result).

Position 1: Deep in the drum in front of the batter head

The position deep in the bass drum just a few finger widths away from the batter head particularly emphasizes the impact and blocks out a lot of resonance. The sound tends to be dry.

Position 2: Microphone at the level of the resonant head

The position at the front, in the opening of the resonant head, delivers less attack, but instead lots of resonance and a warm, voluminous bass sound.

Position 3: The power lies in the center

The position in the center between the batter head and resonant head still provides a voluminous bass sound but less attack. The emphasis of the attack can be further reduced by turning the e 902 away from where the beater strikes.

When it comes to live performances, the straightforward positioning in the hole of the resonant head is tried and tested. Anyone searching for the perfect sound can also, with headphones on and microphone in their hand, track the positioning live.

The insider tip: the e 902 on the tom

Product Manager Sebastian Schmitz has an insider tip for all drummers who like toms with a deep sound: “I like to install the e 902 using the bracket from the small e 904 on the stationary tom. It’s a little bit tight, but it works. You’ll get a really impressive punch. Simply give it a try!”