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Review DTP Beat Kit Pro 7

Adam Jones of musicradar wrote a revealing review of the DTP BEAT KIT PRO 7.

Sep 3, 2012 2 min read

LEWITT Content Team
Enthusiasts at work

This image shows the DTP Beat Kit Pro 7 on a drum kit

Adam Jones of musicradar wrote a revealing review of the DTP BEAT KIT PRO 7.

Summary: "We tested the mics at Antenna Studios where we began by close-miking a four-piece kit. Trying the dynamic capsule of the DTP 640 REX alone found it producing a more desirable sound than the industry-standard control mic alongside it. There was a greater degree of solidity and beefiness on tap and the drum just sounded that little bit bigger. Trying the condenser capsule on its own gave a warmer and understandably less saturated response, one more suited to lighter, acoustic-orientated music.

Dialling in both capsules found the dynamic capsule prevailing with the condenser embellishing the sound with shell timbre and air movement. The MTP 440 DM positioned over the snare impressed from the off, capturing the drum's crispness, body and power well. Snare drums can be difficult to record and can easily be rendered either tinny and flimsy or too flat and boxy. This mic avoided either extreme, taming some of the drum's natural aggression without making it sound impotent; if anything it made it more palatable.

Two DTP 340 TT's mics accounted for the toms and reproduced pretty much all of the frequencies generated faithfully. The initial impact came through assertively, while the ensuing note and decay followed on with similar accuracy. Mixing in the two LCT 340 overheads fleshed out the toms further still, giving them a favourable presence in the mix.

The LCT 340s are clearly up there with some of the best condenser mics on the market, picking up every tiny nuance in quiet passages whilst coping smoothly with barrages of equally challenging flat-out drum and cymbal fury. It wasn't just the fact that they dealt with spectrum-wide shifts in dynamics, it was the quality of the sound that they gave while doing so.

The next obvious test was to re-rig the mics in the classic Glyn Johns four mic method (kick and snare close-miked plus the two overheads). Here they excelled again, producing a natural, live-sounding kit with each element easily discernible and yet balanced and homogeneous as a whole.

Conclusion: The innovative designs, road-proof build and excellent sound reproduction add up to a seriously impressive set of drum mics. No bass drum phasing issues. The condenser mics are some of the best we've tried. Great sound quality."

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