w w w . a p e x e l e c t r o n i c s . c o m
Distributed in U.S.A. by Yorkville Sound Inc., 4625 Witmer Industrial Estate Niagara Falls, New York, 14305 - phone : (716) 297-2920 fax : (716) 297-3689
Distributed in Canada by Yorkville Sound Ltd., 550 Granite Court, Pickering, Ontario L1W-3Y8 - phone : (905) 837-8481 fax : (905) 839-5776
The Apex480 Microphone:
The multi-pattern Apex480 is a true FET microphone design. Unlike standard
solid-state microphone circuitry, the FETs (Field Effect Transistors) used the
Apex480's signal path deliver incredible clarity with an extremely wide dynamic
range. The FET design offers the unique ability to create a very musical
sounding 'soft clip' with a smooth output and rich harmonic content, much like that
of a tube microphone. Unlike a typical tube microphone design, the Apex480 will
operate with a standard phantom power source, without cumbersome external
power supplies or proprietary multi-pin microphone cable.
The Apex480 multi-pattern wide diaphragm condenser microphone is one of
the most versatile microphones available for your studio toolkit. Three
selectable polar patterns, low frequency roll-off and -10dB pad switch on the
body of the microphone ensure the Apex480 can easily be applied to
virtually any recording or live application.
The Apex480's FET design is rugged enough for live stage or remote
recording applications where a tube microphone may be too fragile, yet deliver
an almost tube-like presence and warmth with a higher signal to noise ratio with
a lower inherent noise floor making it an ideal microphone for recording critical
tracks like vocals.
It can easily be used with instruments solo instruments like saxophones,
flutes, brass or woodwinds, acoustic guitars or acoustic bass. The Apex480
excels anywhere superior sound quality is required, yet subtlety and clarity
is paramount.
Controls on the microphone itself include a -10 dB pad switch, allowing
distortion-free reproduction of extremely loud at-source signals, and a low
frequency roll off switch that reduces unnecessary low end 'boominess' and low
frequency interference. The included external shock-mount suspension virtually
eliminates vibration and handling noise, while at the same time safely securing the
microphone in any position needed during the recording process.
Multiple Polar Patterns:
A
Cardioid
polar pattern is the standard setting for almost all applications and will
deliver the best results on vocals and a wide range of instruments. It offers full frequency
response off of the front of the microphone and excellent noise rejection from the sides
and back, or 180' position of the microphone. The cardioid pattern also delivers the
most pronounced ‘proximity effect’ or increased low frequency response when
microphone is placed close to sound source.*
The cardioid pattern is ideal for single instrument or vocal use. The pattern
picks up only sound directly in front of the mic and sound emanating from any other
direction is rejected. Note: The cardioid symbol on the microphone housing denotes the
'live side', or front face of the microphone that in all cases should face the performer.
*Vocalists can use the proximity effect to their advantage, adding fullness and
more 'bottom end' to the voice. Experienced vocalists can easily incorporate
it as part of their overall microphone technique. Again, experimentation with
mic placement during the recording process is the key. The omnidirectional
polar pattern does not exhibit this effect.
The
Omnidirectional
polar pattern picks up sound equally from all around
the microphone. This is mostly used for recording ambient sounds, or when
recording in an exceptionally good sounding live room where the character,
ambiance and tone of the studio needs to be recorded, as well as the source
voice or instrument. It would also be the ideal choice for picking up audience
interaction in a live recording situation.
The
Bi-directional
or
Figure-8
polar pattern will hear sound from both front
and back. This is ideal for recording a solo vocal or instrument with limited proximity
effect, better off-axis rejection (limited interference from the sides of the microphone)
while still picking up room ambience or natural reverberation from behind the
microphone. It also can be used for or duet vocals or for recording harmony vocals with
two vocalists.
Low Frequency Roll Off:
In virtually all recording and live sound applications, the low frequency roll-off
should be engaged to reduce handling noise and low frequency 'rumble' at
source. It is a generally accepted practice use the low frequency roll off on
all vocal applications and when recording solo instruments.
Care and Feeding of your Apex480:
All wide diaphragm condenser microphones are fragile. They do not like to be
exposed to any sharp impact that may stretch or knock the element out of
alignment including being dropped, tapped, or being blown into.
It is always advisable to use a pop filter when recording vocals not only to
avoid overly accentuated 'S', ‘P’ and ‘B’ sounds, but also to keep excessive moisture
off the element. It is always a good idea that the microphone is kept in its case when not
in use.
Connect the microphone to your mixer or recording device with a high quality
XLR cable before turning on the phantom power source. It is always a good idea
to make sure all volume and gain controls on your mixer or mic preamp are set
to their minimum levels when powering up the microphone.
Once the Apex480 is plugged in and powered up, you should gradually bring
the mixer's channel fader up and properly set the input gain on the mic's
channel and stop just before the signal peaks. It is never a good idea to
unplug a phantom powered condenser microphone like the Apex480 from its
power source with the gain and volume controls open.
The outer shell of your mic can be cleaned with a soft damp cloth. Do not use
harsh detergents, solvents, or abrasive materials. Never immerse any
microphone in water.
Suggested Accessories:
Apex MWS-56DLX
6-inch studio pop filter
Apex MS-700B
Studio microphone Stand
Apex APP2
Phantom Power Supply
Type
Polar Pattern(s)
Frequency Response
Sensitivity
S/N Ratio
Max SPL
Equivalent Noise
Power Requirement
Controls
Impedance
Dimensions
Weight
Wide Diaphragm FET Condenser Microphone
Cardioid, Omnidirectional and Figure-8
20 - 20000 Hz
-40dB
>73dB
134dB
(For .05% THD @ 1000Hz)
18dB
(A-weighted IEC/651)
48v Phantom Power
-10dB pad / 80Hz Low Frequency Roll-off
200 Ohms
192mm x 53mm (7.6 in x 2.1 in)
635g (22.4 oz)
Apex480 Specifications:
Apex480
Multi-Pattern Wide Diaphragm FET Condenser Microphone
