Over the years, I have developed a fondness for using small diaphragm condenser mics on drums, usually in top-and-bottom pairs. Buying my favorite discontinued models second hand left me with a number of problems related to the differences in condition between individual mics, and in 199-something, I decided to get a set of new mics that would age together and presumably by more consistent. Having looked at every available option, I found there was no current production mic that would fit the bill. Current small diaphragm mics all had one problem or another in the uses I would put them to, and in a technical culture becoming geared toward cheaper, less critical semi-professional products, I didn't see anything on the horizon that would be of use.

I needed a microphone for recording drums. Actually, I needed a half-dozen of them, but nobody made one. I tried to get some of the bigger microphone companies interested in making me a microphone, but they were all busy with in-ear monitors or some hideous black chrome potato. I called David (Josephson), whose microphones I had been impressed by, and suggested the project to him. He saw the utility of a small-diaphragm, side firing condenser mic, and we began collaborating. The collaboration consisted of me telling David what to build, him building something else entirely, and me rejecting it. This continued until he made the e22S, at which point he hit a home run. It's a good things too, because we both were too tired to play any more.

The e22S microphone has been in daily use in our studio since 1994. I say daily with no exaggeration, because these mics are in use on every session.

They are perfect for drums. They are great on electric guitar amplifiers. They are a first choice for acoustic instruments. They can handle phenomenal SPL. The output transformer is a custom wound wide bandwidth Lundahl device, making these mics suitable for use into any preamplifier on the planet, new or old. You can pound nails with them.

While designing the e22S, David worked from a set of requirements we gave him, which constituted all I wanted from a microphone:

1. A physical profile that allows me to put it anywhere -- even on drums in a kit with a tight layout without it being in the way.

2. Excellent sound quality

3. Cardioid polar response with minimal lobing across the frequency spectrum, and modest, predictable proximity boost.

4. No unexpected behavior when used into preamps with transformer or electronic inputs.

5. Must be able to handle high SPL without distortion, either in its internal electronics or by overloading mic preamps.

6. Must not require any special mounting hardware -- cylindrical body of a common size to fit normal microphone clips.

7. Must be durable. Heavy brass housing should be able to withstand repeated blows from frustrated drummer or dropping by clumsy engineer.

8. I must get six of them, and they have to sound similar.

9. There is no number nine.

The specific need addressed by the e22S was drum kit recording, and the mics are used in that capacity nearly every day, but once they were in our hands, they quickly became a favorite mic for many instruments, including acoustic guitar, mandolin, banjo, guitar amplifiers, organ and horns. The e22S is easily the most versatile microphone in our cabinet.

On loud sounds like drums and guitar cabinets, the 609 head amplifier delivers a crisp, clear signal that is free of distortion, at a level that doesn't require an external pad to prevent distortion.

The output transformer provides critically accurate balancing, wide bandwidth and excellent isolation of the electronics, while presenting a comfortable load to the input of the mic amp. Some transformerless electronic output stages can cause overload or distortion by presenting a virtual short circuit to the input transformer of the preamp, unless build-out resistors are used. Build-out resistance makes the low output impedance irrelevant, and acts as a potential noise source.

Trying to describe a microphone's sound in words always makes me feel ridiculous, like a novice wine taster: "this has...oak? And, um, 'top notes' of barley? Citrus? I mean it's spicy, but... tannins? Is that it? Tannins?" I'd prefer to recommend the e22S on it's merits as I see them.

These are good mics worthy of being called "general purpose" instrument mics. They are reliable, physically sturdy, sound consistently good and induce no electronic anomalies. I would not hesitate to use them on any instrument, in harms' way if necessary, in any studio, under any conditions. They have made my life easier, and in the process become the most popular mics in our studio.

steve albini
Electrical Audio
Chicago, Illinois

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