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SPKR MiK: How to make a microphone from a speaker.

by Aud1073cH on October 19, 2007

Table of Contents

intro: SPKR MiK: How to make a microphone from a speaker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

step 1: Materials and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

step 2: Dissasemble the drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

step 3: Shock mounting the speaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

step 4: Drill the holes in shell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

step 5: Mount the components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

step 6: Review the plans and solder the circuit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Circuit Explanation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

File Downloads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

step 7: Re-mount and solder the speaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

step 8: Cosmetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

step 9: Finishing touches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Things to do with your speaker microphone DI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Enjoy! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

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intro: SPKR MiK: How to make a microphone from a speaker.
How to make an inexpensive microphone capable of picking up low frequencies that doubles as a speaker and direct box.

The large diaphragm of this microphone will pick up more of the low frequencies when recording a kick drum or bass guitar.

Sound recording engineers have been using this trick for years, and Yamaha has also made a commercial speaker microphone called the SubKick, that usually retails for
around USD$300.

I was able to build this mic for under $20 by "scrounging" various parts out of old junk. Even if you need to buy all the components, you should be able to build this mic for
a fraction of the price of the retail version.

This design goes slightly beyond the SubKick, as far as electronics are concerned, with a dual coil design, and internal direct injection (DI) box.

You should be comfortable using a power drill and a soldering iron, and be able to read a schematic diagram. There is a little sewing, but it isn't too difficult.

Image Notes
1. Large diaphragm speaker microphone
2. Built-in DI box

step 1: Materials and Tools

Materials

6.5" dual coil woofer speaker (4ohm). I pulled this one from an Altec Lansing multimedia system that had a blown amplifier.
10" drum. Cheap is okay, but you'll want something with lugs that screw into the shell, not springs or T-rods that screw into couplers. I found this one for $2 at a
second hand store.
Two miniature bungee or elastic cords. I got a 4 pack for $2.50
Crimp on terminal rings. I paid $2.50 for a dozen
Adjustable hose clamp (the same diameter as the magnet of your speaker). This was about $1.50 at the hardware store.
Female mounting flange for 3/8" microphone stand and small bolts to mount it. I got this at Parts Express
2 sq. ft. of speaker grill cloth. Also at Parts Express
Thread
Male XLR 3pin panel mount connector and mounting screws
Two 1/4" TS (mono) female phone jacks (at least one needs a tab for a normalling connection)
A six-pole four-throw rotary switch (scrounged from a 4-way printer "data" switch box)
100 ohm potentiometer, also called a variable resistor
two knobs (for pot and rotary switch)
Two DPDT toggle switches (on-on)
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 A SPST toggle switch
Resistors: 100k ohm, two 10k ohm, 10 ohm
100nF capacitor
1:1 ratio audio isolation transformer (pulled from a second hand 270-054 I got for $1)
metal container to hold and shield transformer, and mounting hardware
heat shrink tubing or electrical tape
connecting wire. 22ga or 24ga is fine.
short microphone stand (another second hand store find)

Tools

Small adjustable wrench

Drill
Soldering iron and solder
Wire stripper/crimper
Scissors
Sewing needle
Screwdrivers
Small hack saw
Ruler, or other measuring device
Sharp hobby knife
Marking pen

Optional

Rotary tool
Drum key
Pliers, tweezers, or other soldering aids
Adjustable calipers
Cutting mat
label maker

Image Notes
1. 6.5 inch dual coil woofer
2. Ten inch drum

Image Notes
1. Hose clamp to fit the diameter of the speaker's magnet.
2. Metal container to hold transformer and provide shielding from electrical noise.
3. 1:1 ratio audio isolation transformer
4. two DPDT toggle switches (on-on) type.
5. SPST toggle switch
6. Resistors: 100k, 10k, 10k, and 10 ohm.
7. 100nF capacitor (mylar or ceramic)
8. Knob for potentiometer
9. Knob for rotary switch
10. Six pole four throw (6P4T) rotary switch
11. 100 ohm potentiometer
12. Panel mount XLR male (microphone connector)
13. Crimp on ring terminals
14. miniature bungee, or elastic cord
15. Quarter inch TS (mono) jacks with normalling connection.

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step 2: Dissasemble the drum
Separate the pieces of the drum.

It helps to have a drum key to unscrew the T-rods from the lugs, but you can use a small adjustable wrench instead.

We'll need the basics: Shell, Lugs, T-rods, heads, and rims.

My drum is a cheap toy, but it has the necessary lugs that screw into the shell.
I removed the old mounting hardware and the brush snare that were in my drum, and left them out.

Image Notes
1. Heads
2. Shell
3. Lugs
4. Old mounting hardware
5. Brush snare (don't need this)
6. T-rods
7. Rims

step 3: Shock mounting the speaker

Prepare the shock mounting system using the bungee cords, the crimp-on ring terminals, and the hose clamp.

Pick the right size crimp terminal rings: The crimp ends should be just large enough for the bungee cord to fit through, and the screws that hold the lugs onto the shell
should fit through the rings.

The two bungee cords will eventually end up as 8 total pieces. Four will mount to the four mounting holes of the speaker. The other four will be mounted to the magnet
using the hose clamp.

It is handy to make a reference template from one of the drum heads to position the speaker. Place the drum shell on top of the head. Mark four points on the head that
line up with the mounting holes for the lugs. Remove the shell, and use a ruler to draw two lines through the center, connecting opposite marks in an "X". Center the
speaker on the X and align the speaker's mounting holes with the lines. When it is centered, trace around the speaker. Keep this reference template head under the
speaker and shell for the rest of this step (3). We will use this template again in step 5.

First cut the two bungee cords in half. By folding them, you can get the midpoint without measuring. Remove the hooks. Each piece should have a staple or crimp thing
that was used to keep it from slipping through the hook. Slip each of the pieces through the mounting holes in the speaker. They should hold. If not, use a washer to
make the hole smaller, or find some other way to attach them.

Next, remove the insulators from 12 of the crimp on terminals. This is safe, since we're not using them for electricity, just for their mechanical properties. Slide one crimp
terminal over the end of each of the bungee cords. With the speaker centered in the drum shell, adjust the crimp rings so the ring ends just touch the shell without
stretching the cord, and crimp them in place. You should have just under an inch of cord between the speaker and the crimp. Cut off the remaining bungee cord to use for
the second set.

Crimp a ring onto each of the four pieces. Clamp the rings onto the edge of the speaker magnet using the hose clamp. Tighten the hose clamp until it is close, and slide
the rings between the magnet and the clamp. Make sure that they are aligned with the speakers mounting holes, then tighten the hose clamp. (alternatively, you could
just clamp the ends of the bungee under the hose clamp)

Slip the last four crimp rings onto the ends of the bungee cords. Adjust them the same as before, with the tip of the ring just touching the shell without stretching the cord.
Crimp them in place and cut off any remaining cord blocking the holes of the rings.

Now is a good time to test the shock mounting system, so you can make any adjustments while there is still plenty of room inside the shell. Fit the lugs back onto the
drum, attaching the shock mounting system with the same screws.

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 Image Notes
1. length of longer bungee cords with crimp rings
2. length of shorter bungee cords with crimp rings
3. Trace speaker and speaker magnet on drum head for reference
4. Ten inch mini bungee cords
5. remove bungee hooks
6. Electrical crimp ring terminals
7. Stapled end of bungee cord won't slip through the speaker's mounting hole.
8. Hose clamp screw
9. rings touching the shell
10. Lug mounting screws fit through rings.
11. rings clamped to magnet
12. Trace where the inside diameter of the shell sits on the head.

step 4: Drill the holes in shell.

Lay out your panel and drill the holes for the jacks, switches, and potentiometer.

Its best to make a template to make sure you like the layout before you commit to drilling.
Check to see that the components will have enough room on the inside of the drum without interfering with each other, or the speaker. Also make sure that the
components won't interfere with the lugs or the shock mount system.

Mark the center of each hole on the template, and tape it down temporarily. Mark the center of the holes by using a sharp object like an awl or the point of a nail to make
a dent in the surface below. Mounting holes for the XLR jack are best drilled with the jack sitting in its hole, so the alignment is perfect.

Pre-drill the holes with a small bit first (1/8" works well), and enlarge to the proper size with larger bits. This will keep the bits from "walking" when starting the holes.

Image Notes
1. Trace knobs for layout.
2. mark center of hole and poke with sharp object to transfer to drum shell.
3. Leave mounting holes of XLR until after the jack is sitting in its hole.
4. Next lug mounts here. Image Notes
5. One lug mounts here. I've marked the edge of it on my template. 1. make sure components have enough room.

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 Image Notes
1. XLR mouning holes were drilled with the jack sitting in the large hole.

Image Notes
1. Good time to drill hole for microphone mount. Smaller mounting holes were
drilled with hardware in place.

Image Notes
1. Mic stand mounting flange test fit.

step 5: Mount the components

Trim the shafts of the switch and the potentiometer to the right length to fit your knobs with a hacksaw or cutting disc with a rotary tool. File down any sharp burrs.

Mount the components in the shell and make them snug. Don't over tighten. You don't want to strip the threads. :) Also mount the container for the transformer. A metal
container will help shield from outside interference.

Wait to mount the speaker until step 7.

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 Image Notes
1. Cut shafts to length

Image Notes
1. marking position for transformer box
2. Double and triple checking that things will have enough space.
3. Keep the path clear for the shock mounts, but don't mount the speaker until step
7.
4. Use the template you made in step 3 to position the speaker in the center when
checking clearances.

step 6: Review the plans and solder the circuit.

I researched how others have wired their speaker microphones and schematics of various direct injection (DI) boxes to figure out how I wanted to build this one.

I've provided a PDF file (below) of my hand drawn schematics so you can print them off and have them at your workbench.

Warm up your soldering iron and follow the schematic. Lines that meet in a dot are connected. Lines crossing in a little "jump" are not connected.

Point to point wiring is actually simpler in this case. This is when components are soldered directly to each other without using a circuit board.

It may help to highlight different sections (paths that are connected together) of the circuit with different colors of ink, then wire one section at a time.

Solder leads to the transformer, and insulate the connections with electrical tape or heat shrink tubing. Then put the transformer into the container and run the leads
through a hole drilled in the side. You may want to pad the transformer inside the container with a scrap of foam, cotton balls, or a plastic shopping bag so it doesn't rattle
around inside. The connections on the transformer will be less likely to come loose if the transformer does not move.

Solder in the leads for the speaker and label them. Wait to solder them to the speaker terminals until after you have mounted the speaker in step 7.

Circuit Explanation
The configuration of the coils can be changed by the rotary switch (S1).

Position 1 Single: A single coil of the speaker is used (4ohms), both 1/4" jacks are wired in parallel with the coil.
Position 2 Series: Two coils are wired in series(8ohms), with the two 1/4" jacks wired in parallel.
Position 3 Parallel: Two coils are wired in parallel (2ohms), with the two 1/4" jacks wired in parallel.
Position 4 Damping: Coil A is normalled to the 100ohm potentiometer, which will electromagnetially dampen coil B. When a 1/4" plug is plugged in, the
potentiometer is disconnected, and the input directly drives coil A. Coil B is wired in parallel with the 1/4" output jack.

In all positions, the output then passes through the phase flip switch, through a -20db pad, to one side of the transformer. The transformer's secondary outputs through
the XLR jack. (The pins on the XLR jack are labeled.)

The filtered ground can be lifted by opening S4.

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 Image Notes
1. Pole 1 of the rotary switch - (there is intentionally no connection to position 1) Image Notes
2. pole 2 of the rotary switch 1. Whirlwind Director schematic. I borrowed the pad values from here.
3. pole 3 of the rotary switch 2. Pro-Co DB-1 schematic. Very similar to the Whirlwind Director.
4. 100 ohm potentiometer (variable resistor) 3. an ESP DI schematic. I borrowed the ground filter from here.
5. DPDT toggle switch to reverse the phase (handy if your sound board doesn't 4. scribbles and early versions.
have phase flip buttons) 5. Final revision
6. -20db pad (made up of three resistors) can be switched in and out of the circuit
path by a DPDT toggle switch.
7. 1:1 ratio audio isolation transformer
8. XLR jack.
9. Simple filter made with a 10 ohm resistor and a 100nF capacitor
10. Speaker
11. Coil A
12. Coil B
13. Input
14. pole 4 of the rotary switch
15. pole 6 of the rotary switch, common connected to the normal of the input
16. pole 5 of the rotary switch
17. Output
18. Ground lift SPST switch
19. Connected.
20. Not connected.

Image Notes
1. point to point wiring

File Downloads

SPKRMiK.pdf (304 KB)

[NOTE: When saving, if you see .tmp as the file ext, rename it to 'SPKRMiK.pdf']

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
step 7: Re-mount and solder the speaker
Mount the speaker back in the drum shell using the screws of the lugs. You will also be re-installing the lugs at the same time.

Solder the leads onto the speakers. Be careful to keep the polarity correct (+and-) or you will have phase cancellation of all the wonderful bass frequencies we want.
Leave room for the speaker wires to move with the speaker when the speaker moves in the shock mounts.

If you like, you can put it on a stand now. You can put the knobs on too.

Image Notes Image Notes

1. watch the polarity 1. Large diaphragm speaker microphone
2. a little slack left in the leads 2. Built-in DI box
3. cable tie
4. cable tie
5. components do not touch speaker or shock mounts
6. shocks and lugs use the same screws

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http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 Image Notes
1. knobs

step 8: Cosmetics
Your mic will look better with a nice cover.
We'll cut holes out of the heads, and cover them will speaker grill cloth.

Marking them is optional, but a good idea. You want to leave a strip all the way around that is slightly thicker than the shell of the drum. (if you cut out the whole head, the
ring will just slip around the outside of the shell) The strip of head sits on the shell, and the rim keeps it tight.

To help me make a nice smooth cut, I used a washer. The difference between the inside radius and the outside radius of the washer was a little more than the thickness
of the shell.
With the metal ring of the head facing up, set the washer flat inside the head, against the ring. Put the tip of the knife inside the washer. The washer will roll against the
ring of the head, and keep the blade at the right distance.

Place the drum head "donut" on a corner of your grill cloth and cut out a square just a little larger. Then cut off the corners.

Take a needle and thread and sew some temporary holders in place. Connect each of the eight points to the point across from it by tying off the thread. This will
temporarily hold the fabric while it is sewn on.

Take more thread and stitch around the edge. Roll up the cloth a bit to give it something to hold onto (grill cloth is a loose weave). Only stitch the cloth on the back side of
the head, _not the front_. This stitch is similar to the way you would make the webbing of a "dream catcher." NativeTech.org has better instruction on the technique. For
each stitch, instead of going around a ring of vine or metal, you stitch through the grill cloth. This thread won't really take any tension on the cloth until you get half way
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around the circle. When you make it once around, overlap a bit. Go back to the beginning, and tighten the stitches by pulling the thread with your fingers. You should be
able to stretch the cloth a little and get it nice and even on the front side.

Then stitch a second round. It is fine to tie off the first round and use a second piece of thread. This time stitch in between your previous stitches, stitching around both
the cloth and the thread of the first round. Tighten the second round, and tie off your thread.

Check your work. The front face should be nice and even, and the cloth should overlap the back side of the metal ring. When all is good, you can cut and remove the
temporary thread on the crossing over the middle.

Repeat this step for the second head.

Image Notes
1. wider washer used to guide hobby knife
Image Notes 2. a cutting mat can save your work surface
1. using washer and pen to mark hole 3. hobby knife with #11 blade

Image Notes
1. Thread temporarily holds the cloth evenly around the ring of the head.
2. Thread.
3. Sewing needle.

Image Notes
1. a rough cut edge extends past edge of head
2. sharp scissors cut better

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 Image Notes
1. Each stitch goes through the cloth, and then through the loop that it just made.

Image Notes
1. start at one point and work your way around

Image Notes
1. Nice and snug all the way around
2. Sewing needle
3. Finished product may look better if your thread matches your grill cloth.
Image Notes
1. cutting the temporary threads

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 Image Notes
1. Tight like a, - er....drum.

step 9: Finishing touches.

Put the grill cloth heads back on the drum with the rims and T-rods. (That drum key may come in handy again.) There is no need to get them super tight, they are just
holding grill cloth. Just snug them up until they are firm. They will not be as tight as a real drum. If its too tight, you may snap the remaining plastic ring of the head.

Label your connections and controls before you forget what they do when you go to use it. It may also be handy to label which end is the front, and which is the back.

Stand back and admire your handy work.

Things to do with your speaker microphone DI

Mic a kick drum
Mic your bass guitar rig
Use as a speaker with your LM386 cracker box amplifier
Podcast in your warmest "radio theatre" voice
Use as a DI with bass for a different sound

Samples
Here are some quick samples of a kick drum. There is emphasis in the low end, and some resonance. It is usually best to apply a low pass filter to the SPKR MiK, and
mix it with a normal microphone.

spkrmic.mp3 - The SPKR MiC by its self. There are no filters or processing, other than editing.
compare-spkrL-b52aL.mp3 - A split track: the SPKR MiK on the left channel, a SHURE Beta 52a kick mic on the right channel. Both are unprocessed, other than
editing.
mix-in.mp3- The first half is a SHURE Beta 52A by its self, the second half is the Beta 52A mixed with the SPKR MiC.- in this sample the SPKR MiC has an EQ - a high
roll-off starting about 400Hz, passing nothing above 2kHz.

Enjoy!

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 Image Notes
1. Selector - single, serial, parallel, damp
2. damping
3. phase
4. -20dB pad
5. ground lift
6. Microphone output
7. input
8. output
9. Front-> tells me which way to point the thing.

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 Image Notes
1. Back. You can almost see the magnet. Image Notes
1. Front

File Downloads

mix-in.mp3 (19 KB)

[NOTE: When saving, if you see .tmp as the file ext, rename it to 'mix-in.mp3']

spkrmic.mp3 (28 KB)

[NOTE: When saving, if you see .tmp as the file ext, rename it to 'spkrmic.mp3']

compare-spkrL-b52aR.mp3 (76 KB)

[NOTE: When saving, if you see .tmp as the file ext, rename it to 'compare-spkrL-b52aR.mp3']

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http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
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Comments
50 comments Add Comment view all 51 comments

Da Nugesta says: Mar 31, 2009. 8:14 AM REPLY

the driver u used was really nice, wher did u get it?

Aud1073cH says: Apr 1, 2009. 9:19 AM REPLY

I removed it from a broken multimedia speaker system. It may have been Altec Lansing, or Cambridge Audio, I don't quite remember.

Try searching for 6.5" dvc woofer

google products search turned up a few inexpensive hits.

or try:
http://www.parts-express.com/pe/showdetl.cfm?Partnumber=290-352

forget1234321 says: Mar 27, 2009. 9:48 AM REPLY

Hey i was wondering what is the best type of speaker to use for this? Large or small? we've got a lot of guitar cabs around here that I could steal a speaker
from, but I want to know if getting a cheap-o stereo speaker from a pawn shop would work better. Thanks!

Aud1073cH says: Mar 28, 2009. 11:42 AM REPLY

Unfortunately there's not really a straight answer.
(sorry- probably more info than you wanted)

most microphones have diaphragms 2" and less, but we're not after "normal" here. The larger diaphragm of a speaker works better to pick up the very
low frequencies we're after, but the higer mass, and slower response mean that it also rejects higher frequencies. It is my guess that a cheapo would
work better, but still pick one sufficiently large. anything from 4" up to 12" should work, but I'm guessing that a better choice will be a 6.5" or 8" cheapo
sub that has a fairly small voice coil -usually given away by the smaller magnet. (think radioshack cheap.)

My best suggestion would be to try a few out and listen to them first before building them into a nice drum shell.
make up something with a mic stand, rubber bands, and paperclips to temporarily hang each speaker in front of your kick or bass cab. Then pick a
sacrificial guitar cable, and strip one end to wire to each of the speakers, and plug it into a DI box, to your mixer.
If you have any single cabs to sacrifice, then you could just plug the speaker cab (not the amp!) into the DI or mixer.

hope this helps - and good luck on your project. :)

zzking says: Sep 9, 2008. 2:07 PM REPLY

Your design is awesome! but What if I am using a 10" 32ohm speaker from an ampeg bass cab and do not want to build it with the phase switch and the DI
box. How would I build it just using the speaker and the 1:1 isolation transformer to an xlr? Or is the transformer usless without the other circuits?
Is the output impedance something to worry about going into a preamp with this or should it be fine?

Thank you for your time!

Aud1073cH says: Dec 11, 2008. 12:50 PM REPLY

the preamp should only see the impedance of it's side of the transformer. - so if you use a 600ohm transformer, it should see 600 ohms.
so just pick a transformer with an impedance that matches what your preamp wants to see.

the transformer is only to create a balanced signal. It should be ok without the rest of it.

sorry this reply took so long - I only saw this today. - didn't mean to leave you hanging.

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 herringgull says: Mar 6, 2009. 11:04 AM
(removed by author or community request)

Aud1073cH says: Mar 7, 2009. 10:01 AM REPLY

You can easily adjust the impedance and level going into the transformer by adjusting the T-pad. You can have even more control by using an H-
pad instead.

and yes, quality transformers do matter. I pulled an audio transformer from a RS ground loop isolator to keep costs down, but still have something
that passes for audio quality. - My next version will use a transformer I pulled from sound mixing console.

Usually with this mic I filter out all the high and midrange frequencies, and only use the low end where the standard mic rolls off. this eliminates
much of the noise. (oddly, I used the same trick with a noisy piezo pickup on a standup bass, and it worked beautifully.)

psychoswan17 says: Nov 27, 2007. 7:44 PM REPLY

could you post a schematic for the not as complex version?

Aud1073cH says: Dec 3, 2007. 11:22 AM REPLY

I'm planning on writing a very simple "coffee can mic" instructable, with a minimalist approach. I would use materials that I could find around my house as
much as possible. (Although the things I can find around my house somewhat resembles the inventory of a fry's electronics, or a Radioshack parts
section.)

Here's a schematic I've whipped up in mspaint. (you may need to download it to zoom in to read the text.)
This is the simplest way to connect a speaker to a professional microphone jack. Just connect the speaker leads to pins 2 and 3 of the XLR jack. Pin 1
should be left open, so you don't short the 48V phantom supply coming from the preamps.
For a 1/4" mic, just wire the speaker to the two conductors of a male 1/4" TS (mono) jack.

I hope this helps :)

herringgull says: Mar 3, 2009. 6:35 AM

(removed by author or community request)

Aud1073cH says: Mar 4, 2009. 9:51 AM REPLY

@ herringgull: you are completely correct. To phase correct the simplified diagram above, the polarity should be reversed.

My original (complex) schematic includes a phase inversion switch, to help correct phase. You may also change the distance between the
microphone and the source (e.g. drum head) to adjust phase.

If you connect pin 1 to the chassis in the original circuit, you will need to insulate the 1/4in. jacks from the chassis with grommets, or use jacks
with insulated bushings. If you don't, when the phase switch is inverted, the signal will be grounded, and you will get no sound.

-Thanks! I'm quite pleased that this instructable lives on.

herringgull says: Mar 6, 2009. 9:51 AM

(removed by author or community request)

Aud1073cH says: Mar 7, 2009. 9:52 AM REPLY

the phase switch is between the speaker and the transformer.

manikmilkman says: Sep 6, 2008. 8:06 PM REPLY

Is there a place to buy those rotary switches for cheap, or is there a different type of switch that could be used instead? I've searched for them online and the
cheapest I can find is running for $100. Aside from all that, this is a great instructable, can't wait to build my own!

Aud1073cH says: Sep 7, 2008. 10:47 AM REPLY

I know that switch is way expensive if you buy it new, by itself. I stole mine from a computer printer switch. - read more:

If there is a good thrift store nearby, pick up a used one of these 4 way parallel printer switches - you can usually find them for US$3 to $5 - they have
way more poles than you need, but you can just ignore the extras. Just look at the way the wires go from the DB25 connectors to get an idea of the
pinout ( i.e., pin 1 on the common plug, and pin 1 on A through D connectors.)

A quick search found this new one:

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 http://www.buyextras.com/bbimadasw4pc.html

You could also use a 9 pin serial switch, if there are enough poles.

If the local thrift store/ second hand store doesn't have them, perhaps there is a computer recycling store near you, or on eBay?

gslam says: Aug 23, 2008. 3:05 AM REPLY

I think its better, not to mount the speaker with a rubber band.
If you mount it directly to the wooden frame of the drum, the metal chassis is mounted solid and the membran of the speaker can swing better.

The second idea is, that if you mount it your way, the sound will hit the spekaer from the front, and (with a delay) from back, so you have an acoustical
shortcut.
Better take a ring of wood, mount it to the front, where you put in the speaker,

Aud1073cH says: Aug 23, 2008. 10:06 AM REPLY

Both of these are valid points. You would get a little more signal by rigidly mounting the speaker, and a rigid baffle would change the pickup pattern.

I did keep these in mind.

The elastic bungee cords are quite a bit thicker and more sturdy than rubber bands. The mass of the magnet and metal frame of the speaker allow the
diaphragm to move nicely. If the speaker coil was very stiff, such as in a high power speaker, a rigid mount would make more sense. However the low
power speakers that seem to make better microphones work just fine with a shock mount.
The primary purpose of the shock mount was to reject vibrations picked up through the floor and stand. If you don't worry about these, a rigid mount
[i]is[/i] much simpler to implement.

I think I've seen a version with a solid baffle, and they work fine. The reflections and reverb in the room are a natural thing, so I didn't worry about
rejecting them. They also tend to be much quieter, and this mic doesn't seem to pick those up. The cone in the front serves to catch the sound, and the
magnet and frame in the back seem to reject some rear noise.
If you were using this for live reinforcement, I'd suggest installing some baffle, foam, or other device to reject noise from the crowd, and reduce the
chance of feedback. For studio use however, you pick up more room reverb with standard microphones. (like the overheads.)
Many professional mics have vents to allow sound to enter the sides or back of the mic. Some are designed for bidirectional pickup patterns, but others
use the length of the ports, with the science of phase cancellation, to shape the pickup pattern into the well known cardioid and hypercardioid patterns.

If you wanted, you could eliminate the drum shell all together. I've seen some mics that are little more than a microphone stand adapter epoxy-glued to
the back of the speaker's magnet.

In short, the choice is yours. There are pros and cons to each method. Thanks for pointing them out, I just didn't cover them in this instructable.

gslam says: Aug 24, 2008. 2:44 AM REPLY

Nice work anyway, thanks for that!

I will try a few options. Even with the drum coat on the back. I want to find out, if different tuning changes the sound. We will see.

cdicthomas says: Aug 12, 2008. 11:08 AM REPLY

1. I used a metal snare drum shell and the XLR that I used is also metal (direct contact between both). When I use the XLR jack I get a little static noise
when touching the shell. Do you know what I should do to avoid this static.

2. When I flip the phase switch (S2) to the down position, I get no mic sound. If S2 is up the mic works. Is this to be expected, or did I wire S2 wrong?

Thanks for all your help and such a great set of directions.
CT

Aud1073cH says: Aug 13, 2008. 9:35 AM REPLY

Interesting problem. I would guess that the two may be related, and both issues are likely from the same problem.

My first thought is the connection between the XLR ground, and the 1/4" jacks' ground.
The Metal XLRs often connect the shell to ground (pin 1). If you are also using metal 1/4" connectors, then the unbalanced stray signal from the shell is
being transferred to the reference of the XLR. (1) Then S2 may be shorting out the signal (2).

The Test: Unscrew either the XLR connector, or both of the 1/4" connectors, and letting them hang (in or out) by their wires, isolate their metal parts from
the drum shell.
I'd un-mount the two 1/4" jacks, and let them hang out in a plastic baggie (still connected ) while you test again for the problems.

If this fixes the problem, then I would suggest isolating the 1/4" jacks by using rubber grommets between the 1/4" jacks and the drum shell. I think 3/8"
grommets work for Switchcraft style 1/4" jacks. Or you could (dare I say it) use 1/4" jacks that have plastic bushings.

If the test did not fix the problem, my second guess would be the transformer- specifically, make sure that the pin out / connections are correct. A
transformer pin out rotated 90 degrees could yield the same results, if the coils are simply conducting the signal across instead of isolating it.

cdicthomas says: Aug 7, 2008. 5:01 PM REPLY

Where did you buy the 1/4" normalizing jack?

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 Aud1073cH says: Aug 8, 2008. 11:09 AM REPLY
I don't remember where I got mine - I think I pulled them out of some other thing, or got them as part of a "grab bag."

I hope this helps though:

Normalizing jacks are also called "closed circuit" jacks, since it closes the circuit when you remove the plug. I've also seen them called "shunt tip" jacks.

Try Effects Connection, they seem to have odds and ends for this kind of thing.

DigiKey.com part numbers:

SC1089-ND
SC1104-ND
SC1316-ND
-check the website- some part numbers are non-stock, and some have high minimum quantities

Mouser.com has part numbers:

502-12A (switchcraft 12A)
502-112AX (Switchcraft 112AX)
161-0085-E
161-MJ160M-EX

*Switchcraft partnumbers are 12A for open-frame style, and M112A for closed-style (the B versions are stereo/TRS, but you can ignore the other
contacts.)
*Neutrik has normalling jacks in stereo/TRS only, part no. NYS232 or NYS234
*Radioshack's part number should be 274-255 - but do check carefully in the store - they're always mixing them up. - I tend to avoid their connectors,
they are usually poorly made.

Mario1 says: Jul 1, 2008. 1:51 PM REPLY

Wouldn't be cheaper to buy a 3$ microphone :?

Aud1073cH says: Jul 13, 2008. 11:31 PM REPLY

The short answer is: Yes. It would be cheaper.

However, when you want a microphone for a specific purpose and/or of better quality, one must pay to play. Lower price may also mean lower quality.

PMRG says: May 17, 2008. 3:06 PM REPLY

i loved your project! Just, as a high school student trying to make a simple science proyect, i was wondering how i could make a microphone with a speaker
that wouldn't seem to over-the-top. I tried making a microphone with graphite but the result i got was a really low sound and i couldn't make out the voices. If
you have any suggestions, IM OPEN!

Aud1073cH says: May 18, 2008. 10:33 AM REPLY

Sounds like a good project. I've done a whole project on microphones too.
Well, the main types of microphones are Dynamic, Condenser, Carbon, and crystal. (I consider the ribbon mic a type of dynamic mic.) There are others,
but not so common: laser, liquid, hot-wire, and possibly others.

The speaker microphone is a dynamic mic.

Your graphite mic (I'd have to look at the design) is probably a carbon mic.
You could also make a crystal microphone from a piezo disk, that is used as a speaker in many cheap toys and buzzers

Wikipedia can give you some ideas, but usually cannot be used as an academic source. You'll want to back up the information with real books.

take a look at the Sure Educational Articles

I hope this helps, let me know how it goes.

burlybang says: May 5, 2008. 9:54 AM REPLY

Just wanted to thank you for these instructions. I built a simple version with an Alesis Monitor One 6.5" speaker wired straight to an XLR, and I now have the
bass drum of doom! My Gretsch 22" has always sounded good, but this is a whole different universe. Thank You!!!

AkumaJoKuR says: May 4, 2008. 12:56 PM REPLY

Awsome Project!!!... i cant wait to build one and start using it...

Echoplexia87 says: Feb 27, 2008. 9:31 AM REPLY

I really dig the setup on this...I just started gathering materials for my own diy subkick. I'm gonna g with the more bare bones version of just a speaker
hooked to an xlr cable and suspend it in a drum. I have a question for you...The speaker I'm using is an 8" subwoofer that I took out of a tv surround sound
setup and I was wondering if using a subwoofer would make any difference than using a regular woofer. What's your advice?

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 Aud1073cH says: Feb 27, 2008. 10:49 AM REPLY
Your 8" should work great. I'd say go for it.
The 6.5" that I used was also designed as a subwoofer.

If you're not sure, then test it first... wire it up (since you are doing the simple version) and hang it from a short microphone boom stand with wire or
rubberbands, (or just use whatever is handy) and test it out before you mount it in the drum.

The larger diaphragm (cone) of the 8", and its heavier coil will take more air to move, and reject more of the high frequencies. But thats acceptable
because we only want the bass frequencies anyway.

The output should still be more than enough for the preamp (If it is too hot, you can wire the speaker to a 1/4" mono plug, and plug it into a regular DI box
that has a -20dB pad.)

As I understand it, a woofer is just a speaker that is not a tweeter, so a subwoofer is a woofer that is made for bass response in a multi-speaker system.
(for a three-way system, bass to the subwoofer, mids to the midrange woofers, and highs to the tweeters)

So let us know how it turns out. :) I'd be interested in hearing a sample.

jajohnso says: Apr 3, 2008. 8:59 PM REPLY

Hey I just made my own subkick. I used a JBL 12in DVC speaker that has a huge power rating. in other words huge Voice coils and a 1000 watt
power rating when used as a speaker. It used to be my car subwoofer. I noticed that with this big speaker wired down to a 1ohm rating i did not need
a -20 db pad. I plugged it up to a yamaha board and a 2000 watt peavey amp. It is kicking out 40hz signals with no special pads or EQ added. At 12in
it is huge device and takes up the entire front of the drumset but, hey, when you feel the 40hz signal you know it is worth it. thanks for the subkick
idea!

Echoplexia87 says: Mar 12, 2008. 7:16 AM REPLY

Well I just finished my speaker mic! It's got a great response...I'll see if I can get some sound samples up for you to hear. Do you know how I could figure out
the frequency response of this cool thing?

Aud1073cH says: Mar 12, 2008. 10:21 AM REPLY

You can do a test with some home recording software.

You'll want some software to generate a tone sweep, from low to high, say 5Hz to 20khz. It should last 30seconds to 1 minute (longer is more accurate.)
Alternatively, you could use a hardware function generator, or oscillator, and record a sweep.

Set up a multi track recording session, and put the tone sweep on track 1. Put a good quality speaker in front of your test mic, and make sure you've got
enough volume. (test volume level with music or a 1kHz tone)

Set up track 2 to record from the mic.

A sound-proof room is best, or else you can use a quiet living room when everyone else is out of the house. -try not to wake the neighbors.

This should play the tone from track 1 through the speaker, picked up by the mic, and then recorded to track 2.

If your software has a 'Normalize" function, you may want to normalize both tracks individually to the same maximum level (like -3dB or something)

To analyze, find a RTA (real time analyzer) function in the software, and select the entire length of both tracks, this should compare the levels of each
track at each frequency.

I've got Adobe Audition - and I know that it does all of these functions, or you may need to use a couple of different programs, like Audacity and Pro
Tools, or Cubase, and combine The tone generator of Audacity with the multi track recording of another. (I'm not sure which others have a nice RTA)

hope this helps :)

plumma says: Jan 28, 2008. 7:29 AM REPLY

Well done for your excellent article.

I need to get one up and running as soon as possible and am limited as far as electronics are concerned.

I saw your simple wiring diagram version, can I literally get my balanced XLR cable and solder it to my speaker cone (Absoulte 2) and be up and running ?
Or is there more to it.

thanks.

Aud1073cH says: Jan 28, 2008. 1:32 PM REPLY

simply, yes.
You'll want to start with the gain, or trim pot turned all the way down at first, since the signal coming out may be hot.

alternatively, you can solder the speaker directly to a mono (TS) 1/4 inch instrument cable, and plug this into a DI box.

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 Aud1073cH says: Jan 25, 2008. 12:43 PM REPLY
VicFirth writes:
What is the (wattage) rating on the transformers and resistors? (Is there) anything else that has to do with current going through them(?) Does the speaker
have to be dual (voice) coil?

Thanks for the question VicFirth.

If you are using it primarily as a microphone, currents will only be in the milliwatts, and low wattage components is acceptable (this is what I used)
The basic 1/4 watt resistors are acceptable, and the transformer specified in the parts list is designed for -10dBV line level signals, (1Volt rms; which is 1mW
at 1k ohm load).
If you will be running higher power into the input (i.e. speaker level from an amplifier) for longer periods of time, you may wish to use larger resistors of 1/2
watt or 1 watt capacity.
You will probably not want to have the input signal very high to begin with, as this mic tends to run hot to begin with.
Note: My Whirlwind brand Director DI box uses 1/2 watt resistors in the pad circuit, for speaker level input.
However, if you want to use it mostly as a speaker cab with built-in "power brake", then you may want to start from scratch and build a really beefy circuit.

The speaker does not have to be a dual-coil, but with a single coil speaker, you'll also want to omit the selector switch and damping pot. , and just run the
speaker connection straight to the input side of the DI circuit.

Aud1073cH says: Jan 17, 2008. 1:56 PM REPLY

CWeeks25 writes:
Yet another question
Sorry to bombard you with questions, but I do have a question about the isolation transformer, as I have never used one of these.
I bought a new one that has a red and black input and red and black out put (with RCA male and female respectively). Can I cut off the the RCA in/out and
use the pre-existing wiring or do I need to take it apart and go from there. Thanks yet again. I can't wait to get started.

If you've got your hands on the same isolation transformer I used (Radioshack part 270-054) Then you've got options.
This radioshack part has two transformers inside the big black shrinkwrapped can. One for the red connectors, one for the white connectors. You can take it
all apart if you like, to desolder one of the transformers from the little circuit board, or you can use cut the wires, and use it as-is.

The simple way is to cut the wires. Separate the red and white wires (the insulation is stuck together) by just pulling them apart. You'll only need one
color/channel, let's pick the white ones. We can bundle up and ignore the red ones.

Cut the white connectors off. You may want to cut the cable shorter too, - I know they come kinda long on one side of the transformer. Just leave enough
wire to work with, 6 to 8 inches should be enough.
Strip the insulation back about an inch on both ends, or however far you need. You should find two wires inside the cable. One is the shield, the other we'll
call the "hot" wire.

one end is input, the other is output (either one can be in or out. it doesn't matter.)

The input hot wire connects to the ouput center tab of the 20db pad switch in the circuit. The shield of the input wire goes to the ground lift switch, and the
ground side of the 10k ohm resistor of the pad.
The ouput hot goes to pin 2 on the XLR mic jack, the ouput shield goes to pin 3 on the XLR mic jack.
The circuit shows a connection to the center, or core, of the transformer. You can just leave that out.

You can secure the transformer can inside with double sided tape, or a ziptie, or however you like.

If you want to take it all apart, you can cut the wrapper off of the can holding the transformers, separate the two halves of the can, remove the circuit board,
remove the electrical tape, and desolder one of the transformers. (like I did) -but it's a little more work.

CWeeks25 says: Jan 14, 2008. 7:07 PM REPLY

On the schematic does anybody know (which I am sure someone does) which of the line indicated the S and which one the T connection on the 1/4 jack?
And Ground as well while we are talking about it. Sorry for asking a not too intelligent question, but better to ask now than screw it all up later. Thanks!

Aud1073cH says: Jan 17, 2008. 1:30 PM REPLY

I'm not sure I understand exactly what you are asking, but I'll try.

Usually T and S on a 1/4 jack refer to Tip and Sleeve contacts for a two-conductor, unbalanced jack. The kind used in this project.
The Sleeve is usually the shield, which is almost always the ground.
The Tip is usually the wire that carries the signal, or the "hot".

For reference, a three conductor 1/4 jack is called a TRS jack for Tip, Ring, Sleeve. It is used for balanced signals (hot, cold, and ground) or for Stereo
signals, like in headphones (left hot, right hot, and common ground).
Some effects inserts on sound mixing consoles use TRS to send and recieve signal on the tip and ring, while saving space on the connector panel by
only using one jack.

Aud1073cH says: Jan 17, 2008. 1:20 PM REPLY

CWeeks25 writes:
Another thing...does it really matter the quality of sub used, like will my $11 sub work as well as so a $30? Thanks

A cheap sub ought to work just as well. It may even work better.
More expensive subs are designed to be more rugged and handle the signal from a more powerful amplifier (more watts), so they will have a larger magnet,
larger coil, more rigid suspension (from the surround, thicker cone, etc.

When you use it as a microphone, you are trying to pick up sound, so a more expensive woofer with more mass will reject more of the sound- especially high
frequencies, because it takes more sound energy to move the speaker cone and coil. The output generated will only be a few tenths of a volt at most, and
probably less than a watt, so the large coil will not have much more output than a smaller coil.

You may wish to use a more expensive sub if you want to reject more high frequencies, and have a lower output signal.
http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 A cheaper sub will give a hotter signal and slightly better frequency response. any unwanted frequencies can be cut with the EQ on the sound console, or
edited out with an EQ in the recording software. Remember that this microphone is meant to pick up more low frequencies.

The short answer: I would go with the cheaper one. I just used a sub I took out of a broken multimedia subwoofer (the amplifier inside had quit) so it didn't
cost me much.

Aud1073cH says: Jan 5, 2008. 2:34 PM REPLY

CWeeks25 writes:
SPKR Mic components: The rotary switch
Is the 6p4t switch a hard and fast must or can another switch of its sort be used, say one with more poles or more throws...the reason I ask is that I cannot
find a switch for less than $42. If you know of a place that I can get one cheaper or have one I can buy, or have another alternative please let me know.
Thanks!
C. Weeks

Those switches can be pricey if you buy them new. I pulled my rotary switch out of a "4-way data switch" that I salvaged from the garbage pile at work. You
may be able to find an inexpensive one at a second hand store, or on ebay.

A passive switch with a DB-9 serial, DB-25 parallel/serial, or keyboard/mouse switch should all have enough poles, as long as it is a 4-way. Try this Google
product search for "4 way data switch"

Aud1073cH says: Nov 8, 2007. 12:50 PM REPLY

ajrodrigues writes:
is there a way to send and receive a signal through the same speaker/mik. maybe adding a switch and a component or something to enable a singnal to be
input and output using the same connections or at the leaste the same speaker. not at the same time obviously. but to be able to switch with a push of a
button from sending a signal to receiving one

If I understand your question correctly, you want to have a quick switch between input mode and output mode.

You could connect the 1/4" out jack to a guitar "A/B" switch, and plug a source into "A" and the "B" would be the output.

In single, series and parallel modes, the 1/4" jacks are connected in parallel, so they can be in or out. The IN and OUT labels are mainly for the "damped"
mode.

Just in case you do want simultaneous input and output, you can plug an input in to the 1/4" jack and output from the other 1/4" and/or the XLR.

In "damped" mode (position 4 of the rotary switch) The SPKR MiK becomes a weird kind of DI. In this mode, when you plug in a 1/4" plug into the input, the
damping potentiometer is disconnected, and the source drives one coil, while the other coil is connected to the outputs.
The input is coupled to the output in two ways. First through direct induction, where the electromagnetic waves go from one coil to the other (just like a
transformer). Secondly, through a two part transduction, where the signal from one coil is turned into vibration in the speaker, and the vibration then creates
a current in the second coil.
The "weird" part is because there is a small delay between the direct induction and the physical transduction, so there may be a weird phase thing going on.

I hope this answers your question :)

inertia18 says: Oct 31, 2007. 12:45 AM REPLY

It rocks!!!! and also can you please add a clearer schematic. thanks

Aud1073cH says: Nov 2, 2007. 11:00 AM REPLY

If the schematic is too hard to read online in the inverted picture, you can switch to the non-inverted picture, or you can download the PDF in the Step 6
section.

As far as having a clearly drawn schematic, I made several revisions before reaching the final drawing.

If you just don't need a speaker microphone this complex, there are several things you could do yourself to simplify the circuit, such as using a single coil
speaker, and eliminating the selector switch and the damping pot. You could also remove the phase flip and pad if you like.

I hope this helps :)

inertia18 says: Nov 4, 2007. 7:37 PM REPLY

thank you so much. Great work!!!

Punkguyta says: Oct 28, 2007. 10:54 AM REPLY

Yah, front page on Hackaday!

Radical Dreamer says: Oct 28, 2007. 7:45 AM REPLY

This was JUST posted on hackaday...

http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/
 TraceM says: Oct 28, 2007. 5:56 AM REPLY
Very cool, I've been thinking about a homebrew SubKick for a while, but haven't gotten past the thinking stage. This will probably be my next project after I
finish my CNC mill. I just have to find a good dual coil speaker.

thearchitect says: Oct 27, 2007. 5:28 AM REPLY

Great project!.. My cousin is a drummer, he'll love this. Great instructable, very clear and beautifully documented. Thanks!..

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http://www.instructables.com/id/SPKR-MiK--How-to-make-a-microphone-from-a-speaker/