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Pyle PDKM7

7 Microphone Wired Drum Kit w/ Mounting Accessories

Discontinued
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This item has been discontinued

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The Pyle PDKM7:

Mic up your drum kit the right way with this all-inclusive microphone package from Pyle Pro! With this kit, you'll be able to record each drum separately (as you should) and you'll hear the shimmering rings and crashes of the cymbals, the powerful one-two punch of the snares, and the low-end BOOM of the kick all on their individual tracks, granting you the ability to mix them to your liking. This package comes with a set of drum mounts that can be used on most standard drum rims; it also comes with a windscreen and a solid carrying case.

Choose Pyle's PDKM7 and get ready to rock!


What's In The Box?

  1. (1) Owner's Manual
  2. (1) PDKM7-A
  3. (4) PDKM7-B
  4. (2) PDKM7-C
  5. (2) Holders for Condenser mic
  6. (4) Thread inserts (3/8" & 5/8"
  7. (4) 3/8" Threads
  8. (4) Clamps for Snare/Tom mics
  9. (2) Windscreens

Product Features:

  • Compact drum microphones ideal for close miking
  • High-performance microphone tuned to capture low-end punch
  • Sensitive, flat response mic ideal for overhead and cymbal reproduction
  • Included drum mounts can be used on most standard drum rims
  • Also found as: PDKM-7, PDK-M7
  • Authorized Internet Dealer
  • 1-year Manufacturer's Warranty

Specifications:

  • Element: Dynamic/Condenser
  • Polar Pattern: Uni-Directional
  • Frequency Response: 50Hz-15kHz/50Hz-14kHz/50Hz-18kHz
  • Sensitivity: -58dB(+/-)3dB/-53dB(+/-)3dB/-45dB(+/-)3dB
  • Output Impedance: 400Ω 30%/500Ω 30%/200Ω 30%
  • Max Input SPL: 130dB(@1kHz<1%T.H.D.)
  • S/N Ratio: 70dB
  • Power Supply: Phantom 24-48V
  • Connector: Standard XLR

First Microphone Specifications

Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Designed Applications
The intended application the microphone is designed for.
Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
Sensitivity
An efficiency or sensitivity rating tells you how effectively a speaker converts power into sound. The higher the number, the more efficient the speaker and the louder it will play with the same input power. An efficient speaker helps you maximize your available power. Most sensitivity ratings measure the speaker's output with 1 watt of input, 1 meter from the speaker. Some speakers' sensitivity is measured with 2.83 volts of input, instead of 1 watt.
 
Efficiency (1w/1m) is not an accurate indicator of a subwoofer's output capability and should not be used as a comparison to other speakers or subwoofers to determine which one is "louder".
Signal-To-Noise (S/N) Ratio
This spec compares the strength of the signal to the level of background noise. A higher value indicates less background noise.
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
Output Impedance
This is the amount of impedance that the microphone allows.
Roll Off
A low frequency filter found on microphones commonly expressed with a threshold in Hz and a slope in -dB/Octave.
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
Length
The overall length of the microphone.
Diameter
A straight line running from one side of a circle or other rounded geometric figure through the center to the other side, or the length of this line

First Microphone Wireless Specifications

Diversity
True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.
Receiver Type
The type of receiver used in a wireless microphone system.
Transmitter Type
The type of transmitter in a wireless microphone system.
Number of Channels
The number of different frequency Channels that a wireless microphone system is capable of using.
Operating Range
The maximum span of distance between The Transmitter and Receiver.
Carrier Frequency Range
The frequencies of radio waves used by wireless communication transmitters and receivers. VHF 30 to 300 MHz, wave length 1 to 10 m UHF 300 to 3000 MHz, wave length 10 to 100 cm

Second Microphone Specifications

Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Designed Applications
The intended application the microphone is designed for.
Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
Sensitivity
An efficiency or sensitivity rating tells you how effectively a speaker converts power into sound. The higher the number, the more efficient the speaker and the louder it will play with the same input power. An efficient speaker helps you maximize your available power. Most sensitivity ratings measure the speaker's output with 1 watt of input, 1 meter from the speaker. Some speakers' sensitivity is measured with 2.83 volts of input, instead of 1 watt.
 
Efficiency (1w/1m) is not an accurate indicator of a subwoofer's output capability and should not be used as a comparison to other speakers or subwoofers to determine which one is "louder".
Signal-To-Noise (S/N) Ratio
This spec compares the strength of the signal to the level of background noise. A higher value indicates less background noise.
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
Output Impedance
This is the amount of impedance that the microphone allows.
Roll Off
A low frequency filter found on microphones commonly expressed with a threshold in Hz and a slope in -dB/Octave.
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
Length
The overall length of the microphone.
Diameter
A straight line running from one side of a circle or other rounded geometric figure through the center to the other side, or the length of this line

Second Microphone Wireless Specifications

Diversity
True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.
Receiver Type
The type of receiver used in a wireless microphone system.
Transmitter Type
The type of transmitter in a wireless microphone system.
Number of Channels
The number of different frequency Channels that a wireless microphone system is capable of using.
Operating Range
The maximum span of distance between The Transmitter and Receiver.
Carrier Frequency Range
The frequencies of radio waves used by wireless communication transmitters and receivers. VHF 30 to 300 MHz, wave length 1 to 10 m UHF 300 to 3000 MHz, wave length 10 to 100 cm

Third Microphone Specifications

Designed Applications
The intended application the microphone is designed for.
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
Sensitivity
An efficiency or sensitivity rating tells you how effectively a speaker converts power into sound. The higher the number, the more efficient the speaker and the louder it will play with the same input power. An efficient speaker helps you maximize your available power. Most sensitivity ratings measure the speaker's output with 1 watt of input, 1 meter from the speaker. Some speakers' sensitivity is measured with 2.83 volts of input, instead of 1 watt.
Signal-To-Noise (S/N) Ratio
This spec compares the strength of the signal to the level of background noise. A higher value indicates less background noise.
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
Output Impedance
This is the amount of impedance that the microphone allows.
Roll Off
A low frequency filter found on microphones commonly expressed with a threshold in Hz and a slope in -dB/Octave.
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
Length
The overall length of the microphone.
Diameter
A straight line running from one side of a circle or other rounded geometric figure through the center to the other side, or the length of this line

Third Microphone Wireless Specifications

Diversity
True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.
Receiver Type
The type of receiver used in a wireless microphone system.
Transmitter Type
The type of transmitter in a wireless microphone system.
Number of Channels
The number of different frequency Channels that a wireless microphone system is capable of using.
Operating Range
The maximum span of distance between The Transmitter and Receiver.
Carrier Frequency Range
The frequencies of radio waves used by wireless communication transmitters and receivers. VHF 30 to 300 MHz, wave length 1 to 10 m UHF 300 to 3000 MHz, wave length 10 to 100 cm

Fourth Microphone Specifications

Designed Applications
The intended application the microphone is designed for.
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
Sensitivity
An efficiency or sensitivity rating tells you how effectively a speaker converts power into sound. The higher the number, the more efficient the speaker and the louder it will play with the same input power. An efficient speaker helps you maximize your available power. Most sensitivity ratings measure the speaker's output with 1 watt of input, 1 meter from the speaker. Some speakers' sensitivity is measured with 2.83 volts of input, instead of 1 watt.
Signal-To-Noise (S/N) Ratio
This spec compares the strength of the signal to the level of background noise. A higher value indicates less background noise.
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
Output Impedance
This is the amount of impedance that the microphone allows.
Roll Off
A low frequency filter found on microphones commonly expressed with a threshold in Hz and a slope in -dB/Octave.
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
Length
The overall length of the microphone.
Diameter
A straight line running from one side of a circle or other rounded geometric figure through the center to the other side, or the length of this line

Fourth Microphone Wireless Specifications

Diversity
True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.
Receiver Type
The type of receiver used in a wireless microphone system.
Transmitter Type
The type of transmitter in a wireless microphone system.
Number of Channels
The number of different frequency Channels that a wireless microphone system is capable of using.
Operating Range
The maximum span of distance between The Transmitter and Receiver.
Carrier Frequency Range
The frequencies of radio waves used by wireless communication transmitters and receivers. VHF 30 to 300 MHz, wave length 1 to 10 m UHF 300 to 3000 MHz, wave length 10 to 100 cm

Fifth Microphone Specifications

Designed Applications
The intended application the microphone is designed for.
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
Sensitivity
An efficiency or sensitivity rating tells you how effectively a speaker converts power into sound. The higher the number, the more efficient the speaker and the louder it will play with the same input power. An efficient speaker helps you maximize your available power. Most sensitivity ratings measure the speaker's output with 1 watt of input, 1 meter from the speaker. Some speakers' sensitivity is measured with 2.83 volts of input, instead of 1 watt.
Signal-To-Noise (S/N) Ratio
This spec compares the strength of the signal to the level of background noise. A higher value indicates less background noise.
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
Output Impedance
This is the amount of impedance that the microphone allows.
Roll Off
A low frequency filter found on microphones commonly expressed with a threshold in Hz and a slope in -dB/Octave.
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
Length
The overall length of the microphone.
Diameter
A straight line running from one side of a circle or other rounded geometric figure through the center to the other side, or the length of this line

Fifth Microphone Wireless Specifications

Diversity
True Diversity receivers have two radio modules and two antennas. Diversity receivers have one radio module and two antennas, although some times the second antenna may not be obviously visible. Non-diversity receivers have only one antenna.
Receiver Type
The type of receiver used in a wireless microphone system.
Transmitter Type
The type of transmitter in a wireless microphone system.
Number of Channels
The number of different frequency Channels that a wireless microphone system is capable of using.
Operating Range
The maximum span of distance between The Transmitter and Receiver.
Carrier Frequency Range
The frequencies of radio waves used by wireless communication transmitters and receivers. VHF 30 to 300 MHz, wave length 1 to 10 m UHF 300 to 3000 MHz, wave length 10 to 100 cm

Specials with this Item

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Warranty and Return Policy

Parts Warranty Duration
1 year
Labor Warranty Duration
1 year
Warranty Provider
Manufacturer

Summary of Customer Ratings & Reviews

Rating Distribution

5 Star
50%
4 Star
50%
3 Star
0%
2 Star
0%
1 Star
0%

Average Attribution Rating

Durability
5.0
Value
5.0
Features
5.0
Design
5.0
Usability
5.0
Edward

Russian Federation

Overall
Durability
Value
Features
Design
Usability
very satisfied!

March 16, 2013

Use for six months. So far, I can not believe such a high quality for the little money.

0 of 0 found this helpful

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onerocker

Buffalo,New York

Overall
Durability
Value
Features
Design
Usability
Great product...great value!

January 31, 2013

I am in a band and just started up doing sound. I purchased this mic set because of the reviews and the price. I must say that the product is great! The only thing is that I purchased a different bass drum mic. I use the bass drum mic on the floor tom. The sound I get is great! I have used this set in some big shows and can honestly say I have not gotten one bad comment on the sound! I highly reccomend these for the soundguy on a budget!

0 of 0 found this helpful

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Product Summary

Manufacturer

Model Number

PDKM7

UPC

068888901635

Weight

6.50lbs

Internal SKU

pdkm7

Internal Product ID

45543

Sonic Electronix Wiring Guide

Wiring Diagram Legend

Warning: The image depicted shows the resistance change when wiring multiple subwoofer terminals. Please refer to your subwoofer's owner's manual for the proper wiring of its terminals. Sonic Electronix, Inc. is not responsible for damage caused to your audio system or vehicle due to improper installation. Please call tech support at 1-877-289-7664 if you require additional assistance.

Product Name: Pyle PDKM7

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