e 600/800: Within everyone’s budget – above the norm

At the end of the 1990s, the evolution series changed Sennheiser at all levels – from development through to sales and distribution. Whereas hitherto the German brand had been known for its – rather high-cost – broadcast and studio solutions, the engineers were now also developing microphones for live stages. How does one combine high standards, one’s own experience and the possibilities offered by automated production? The answer to this was demonstrated from 1998 onwards by the e 600-series instrument microphones and the vocal /speech microphones from the e 800 series. As a result, legendary but previously expensive prototypes from the MD series suddenly also became available at prices which – finally – was within the budget of a much wider group of the population. Here, “evolution” was not simply a name but a philosophy. Models whose performance people were not satisfied with were overhauled within a short space of time and reissued. Shortly afterwards the e 900 series arrived to crown the evolution range; these products provided workflow, sound and a robustness which also satisfied the very exacting demands of live performances.

With the e 602-II you capture the distinctive quality of your kick drum – and more besides. Here you can find out how to position the microphone so as to match your style as well as some unusual tips for use.

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 602-II 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 e 602-II can do that too?

Even if it was specially developed for the kick drum, the e 602-II is not limited to this purpose. It is also ideal for miking the floor tom. And is evidently also suitable for really quite unusual applications:

For example, we have heard that it is even being used for voice recordings – particularly in cases where people want to make their voice bigger, fuller and more sonorous. Seemingly that is the thing that really makes a podcast stand out.

In addition, the e 602-II appears to also be popular among some guitar players. It has been seen for example with gothic metal bands, where musicians want to give the guitar sound a certain heaviness with emphasis on the low ranges.

And there are doubtless even more ways – unusual ways – of using the microphone, which is why our recommendation is always the following: Searching for the right microphone, there’s nothing better than to try out, try out and try out once again.