Tom Mic is the world’s first large diaphragm condenser microphone custom-crafted for use on toms. Equipped with Lauten Audio’s newly designed Supercardioid capsule and award-winning dual-bias circuitry, Tom Mic captures pure, high-definition rack and floor tom sonics with maximum impact and tone while minimizing cymbal bleed. In addition to its tom-tailored frequency response, Tom Mic also features onboard analog sound-shaping, which allows you to musically rebalance the attack and body of any tom on any drum kit at the flip of a switch.  

SKIP THE EQ

Tom Mic’s tom-tailored frequency response captures each rack and floor tom with drummer-perspective speed, power, and tone, making EQ an afterthought rather than a must-have. 

TOMS, NOT CYMBALS

Lauten Audio’s bleed-blocking head design and dual bias circuitry work together to provide Tom Mic with up to 28dB of off-axis rejection. This means crisp, clear tom sounds with far less cymbal bleed than a traditional dynamic or condenser microphone. 

SUPER-POWERED

Whether stand or rim-mounted, Tom Mic’s newly designed Supercardioid capsule is hand-tuned and vibration-resistant to ensure a powerful balance of transient, body, and tone while minimizing inharmonic overtones from neighboring drums and tuning inconsistencies. 

BUILT TO WORK

Each Tom Mic has a solid brass headframe and mildew-resistant dust filter to protect against stick hits, dust, and debris, whether in the studio or on stage. 

FIND YOUR PLACE 

Because of its unique design, Tom Mic is ideal for a wide array of placement positions while minimizing off-axis sounds. From the slap and isolation of proximity to the lifelike sonics of separation, each placement position offers a wealth of new sonic possibilities. It’s even great on resonant heads as well.

SWITCH IT UP

Tom Mic’s filters impact the overall performance of the microphone and play a critical role in its overall sonic versatility.  

Flat High Cut – Tom Mic’s frequency response boosts from 1kHz-2kHz, dips sharply at 3kHz for snap, then rises around 5k for smack and attack. Sensitivity is also reduced from 9kHz through 14kHz to minimize the sizzle and harshness of cymbal bleed. 

12kHz High Cut – Reduce perceived attack from overly bright tom strikes for a slightly rounder and more balanced note. This setting is also helpful for bringing up the perceived body of a floor tom while further reducing bleed from the surrounding cymbals.

5kHz High Cut – Minimize bleed in harsh environments while preserving the essential impact and tone of a tom. This setting allows you to reintroduce presence and attack through post-EQ without accentuating unwanted high-frequency elements. 

Flat Low Cut- Allow all low-frequency information generated by a rack or floor to pass through Tom Mic’s dual-bias circuitry unaltered. 

80Hz Low Cut – Gently reduce low-frequency buildup while improving perceived clarity from each note. This setting enables toms to stand out in a mix without sacrificing density and low end.  

140Hz Low Cut – Significantly reduce low-frequency buildup while enhancing the perceived impact and clarity of each note. This setting is particularly useful in close-mic applications where toms need to assertively cut through a dense mix with precision and clarity.

In The Box:

• Tom Mic
• Articulating Swivel Mount 
• Cordura Padded Bag

Key Features:

• The world’s first side-address pressure gradient large-diaphragm FET condenser mic designed specifically for toms and floor toms
• 32mm supercardioid capsule provides up to 28dB of off-axis rejection
• 20Hz–20kHz frequency response captures every detail from the smallest rack toms to the largest floor toms
• More than 135dB of max SPL
• 5-inch size can be used on the densest of drum sets
• Ideal for mounting both stand and rim thanks to the vibrant-resistant capsule
• Solid brass headframe plus mildew-resistant dust filter safeguards against stick hits, wood shavings, and other debris
• 80Hz low cut: reduces bleed from bass drums
• 140Hz low cut: preserves your drum’s fundamental frequency while significantly reducing bleed and phase issues from bass drums — great for toms with a higher tuning
• 5kHz high cut: greatly minimizes bleed from cymbals and onstage volume
• 12kHz high cut: provides a rounder, more balanced tone — provides body to floor toms without introducing cymbal bleed
• Flat High Cut – Boosts from 1kHz–2kHz, attenuates dramatically at 3kHz for punch, then boosts again around 5k to lend crispness to the drum’s attack — also dips from 9kHz–14kHz to minimize cymbal bleed harshness
• Flat low cut setting allows all frequency information to pass