TIPS AND TECHNIQUES
Freelance engineers can safely skip this page - it is more for those less familiar with condensor mics. Let
us start at the beginning. The box the mic was shipped in also has three other items. There are two varieties of
mounts and a foam pop filter. The smaller mount we call a "Hard Mount"and is for situations where space is
cramped or TV where a certain appearance is needed. It slides on the bottom of the mic near the XLR connector
and "T" ring screws on clockwise to hold everything together. In general, with mics, avoid "over" tightening
adjustments and mounts and be extra careful not to "cross thread". If it doesn't feel right it probably isn't - If
substantial effort is required to remove a mic then it was over-tightened. Normally, we use the "Shock Mount"
which looks like two rings - one suspended in the other by elastic which isolates the mic from most floor vibration.
You simply slide the mic into the inner ring so that the ring covers the "CR-3A" label then turn the black lever on
the ring counter clockwise which safely locks the mic in place. The mount can attach to either of the two standard
thread types on mic stands. For the larger thread size - use a coin to unscrew the "thread adapter" counter clockwise.
The lever on the side is to tighten or loosen the swivel to allow you to aim the mic where needed. The foam pop
filter slips over the grill and is often needed for vocals and outdoor use where wind might be a problem. For most
other uses the pop filter can be left off. Unlike stage mics, the "face" of the mic is where the label and switches
are and not the end. Visually aim the mic toward the sound you want to record.
The distance from mic to instrument is your choice but you should consider a number of factors. The
further a mic is from the source the more room reflections and leakage from other instruments will be picked up.
At about 8 inches and closer all directional mics have a tendency to boost lows. This is called proximity effect.
It can be useful or not. For some sounds (especially lead vocal) sometimes the desired sound is "intimate and close"
- here, of course, the mic should be close to the mouth and more attention should be paid to excessive proximity
effects and pops. Pop filters that look like stretched nylon on a ring are often used to prevent pops for vocals and
often paired with the foam pop filters for some singers. There is a switch on the mic to also help these potential
problems - It is called a high pass filter and is labelled as a bent line. It cuts lows below 100 hertz to remove some
of the proximity effect, room rumble and pops. The position that looks like a straight line is the "flat" position with
all the the lows intact. The other switch labelled 0 dB and -10 dB is called a pad (in the -10 dB position). For loud
sounds you should probably switch to the -10 dB position to avoid distortion. For quiet sounds the 0 dB position
will give the best noise performance.
This mic requires "phantom power" to operate. Luckily 48 volt phantom power is available on most
consoles and mic preamps and this power flows down the mic cableto the mic. All you have to do is make sure
phantom is turned on and use a good balanced mic cable. STOP! Turn down the monitors before turning phantom
power on. The mic signal is typically about a hundredth of a volt and phantom is 48 volts. Big difference. Quite
a loud pop or thump can happen when you turn on phantom. This could also happen if you change a mic or mic
cable or mic patch. ALWAYS turn the monitors down before changing anything in the mic path to the preamp.
'Tis a good habit even with non-phantom mics or when phantom is turned off. "Save the Speakers" could be a good
bumper sticker for old engineers.
This mic has a directional pattern called "cardioid". Cardioid comes from the same latin word that cardiac
comes from and refers to the heart. Cardioid means heart shaped and is easily the most commonly used mic pattern.
It tends to be most sensitive or loudest in front and least sensitive or deadest in back opposite the switches. Very
few mics have a flat response in back when in cardioid so some coloration may happen to leakage from the back.
You should have somebody walk around the mic while you listen to become familiar with the pattern and tone from
various directions. One thing you should notice is that that the mic is not completly dead in the back. This is normal
and true for any other mics you may have. Some mics have other patterns like "omni" and "figure 8". Omni is
supposed to be non-directional and will pick up sound from all directions equally but in real life the back is usually
different. Omni mics have no proximity effect. Figure 8 has a pattern that looks like an "8" where it should pick
up sounds from the front and back but not the sides. Usually the sides have a very dead spot, the back is out of phase
with the front and the proximity effect is very strong. Patterns like "hyper cardioid" and "super cardioid" are in
between cardioid and figure 8 with a narrow front pattern and some back pick-up. Each can be useful and mis-used.
Cardioid is easiest and usually what people expect mics to act like. Better to have a good cardioid than a poor
sounding multipattern mic.
