C1 Large Diaphragm FET Condenser Microphone
Miktek, LLC Nashville, TN USA tel: 615.250.2434 • fax: 615.346.9298 © 2009 - 2013 All Rights Reserved, Miktek, LLC. Printed May, 2013 v1 www. miktekaudio.
Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 - 4 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Operating the C1 . . . . . . . . . . . . . . . .
You’ve done, done it….. You’ve purchased a truly exceptional piece of audio gear! Congratulations and thank you for purchasing the C1 Large Diaphram FET Condenser from Miktek. We know there are a lot of pretty good low cost microphones available today, but you’re in an elite group of audio engineers where pretty good is just not good enough. Simply put, that’s why we make our products.
Introduction The Miktek C1, multi-pattern, large diaphragm FET condenser will impress the most critical listeners and inspire artists to create their best performance. The microphone’s polar characteristic is cardioid, in addition, the C1 employs a highpass filter and –10dB pad for recording loud sound sources. The frequency response is warm on the bottom and silkysweet on the top, yet at the same time, the midrange is natural and open.
Introduction With proper care your C1 will operate trouble free for many years. We recommend you record your serial number in the space provided below for future reference. Serial number:_______________________________ Date of purchase:____________________________ Be sure to complete the included warranty registration card or visit mikekaudio.com to register on line. In the unlikely instance that your microphone would ever require service, please contact us at 615 250 2434 for a Return Authorization number.
Features 77 MK7 Dual 1-inch Capsule 5-micron Mylar, Evaporated Gold Diaphragms 77 Cardioid Pick-up Pattern 77 High-pass Filter & -10dB Pad Switches 77 Variable Capsule Bias Voltage: 48 – 60v 77 AMI T7 Transformer 77 Individual serialized Frequency Response Graph 77 Wood Presentation Case with Swivel-mount and Shock-mount 5
Operating the C1 Understanding Polar Patterns Perhaps the most important aspect of using your C1, or any other microphone, is to understand its polar pick up pattern. Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal coming from various areas around the microphone capsule. There are many types and variations of polar patterns but the three most common are omniderctional, bi-directional or figure-eight and unidirectional or cardioid.
Operating the C1 Connecting your C1 Connect the C1 to your mixer, mic pre or DAW(Digital Audio Workstation) using a standard XLR microphone cable. In order to ensure the proper phase response, please note the C1’s output connecter is wired as Pin 1 Ground, Pin 2 hot or positive, and Pin 3 cold or negative.
Operating the C1 Setting Up the Signal Level In order to get a good signal, first be sure that the C1 is connected to a mixer or recorder input that is microphone level. As explained in the previous section “Powering the C1”, be sure that the Phantom power is turned on. Most quality mixers, mic pres and DAWs provide microphone inputs with a mic trim (“trim” is jargon. the control is usually called Mic Gain or Level) control.
Operating the C1 monitor the signal through a set of good quality closed-back headphones and take notice to how just a slight adjustment can make a huge change in frequency response. As you’re changing the microphone’s position, be sure to check that the mic input is still set to a good level without clipping, as described in the previous section. The Proximity Effect All cardioid or uni-directional microphones exhibit a phenomenon known as “proximity effect”.
Operating the C1 Installing the SM7 Shockmount The C1 kit comes with a SM7 shockmount, which you can use to greatly reduce any noise transmitted through the mic stand. The shockmounts are especially useful in reducing the problems caused by a boomy soundstage, for example when miking overhead cymbals, or even in the studio with talent that likes to move a lot on a floor that may not be as solid as it should be. • To use the C1 with its included shockmount, screw the shockmount on a solid mic stand.
Applications Guide The C1 is a great microphone choice for many instrument miking situations. Below is a brief guide on using the C1 in some typical applications. But as a general rule of thumb, before you use a typical placement, carefully listen to what you are miking by having the artist play a practice track. Take a walk around the artist as they are playing and listen to what the instrument sounds like from different positions. Move left and right. Listen over the artist’s shoulders.
Applications Guide Acoustic Guitar There are a variety of ways that the C1 can be used to mic an acoustic guitar. The correct placement will depend on the type of instrument and what kind of sound you’re looking to capture, for example the tonal quality you want to focus on, and how much finger slide or pick noise you may or may not want.
Applications Guide Piano You can achieve outstanding results using the C1 on acoustic piano. Several placement approaches can be used depending on the size of the piano, and the type of sound you are looking to record. When miking a Grand Piano, (for an ambient sound like that used in a classical recital), a single C1 can be positioned directly in front of the instrument. Open the lid to the full position and place the microphone five to twelve feet in front of the instrument.
Applications Guide Strings Place the C1 one to three feet from the instrument when recording a solo string instrument like a violin. When recording a string section, try to position one or more C1’s several feet from the players. If the size of the room permits, raise the microphones three or four feet above the section and position them at a 45-degree angle, facing down. If you have two C1’s, you can try the XY or ORTF stereo mic set-ups described in the following section, “Stereo Miking Techniques”.
Stereo Miking Techniques Stereo Miking Techniques Recording instruments like acoustic guitar, piano and drums, or ensembles (especially in classical or jazz), in stereo will provide a much more realistic experience for the listener. You can create a stereo recording by simply using your mixer’s or DAW’s pan controls to place different instruments in between the left and right speakers.
Stereo Miking Techniques Coincidental - XY or Crossed pairs Coincidental microphone set ups are where the two microphones’ capsules are set close together on the same axis. The most common of these is XY or crossed pairs. In the XY set up, the two microphone capsules are positioned on the same axis, one directly above the other with the capsules positioned on an angle from 90 to 120 degrees. The wider the angle, the wider the stereo spread.
Stereo Miking Techniques above or below the first, but with the capsules positioned at a 90-degree angle from the front. The outputs of the two microphones are often connected to a special MS matrix mixer, which combines the mid signal with the signal of the side microphone, both in phase and out of phase. The matrix mixer’s ratio control is now used to set the balance between the mid mic and the combined signal of the side mics to adjust the width of the stereo spread.
Stereo Miking Techniques Near Coincidental Near coincidental or AB mic set up use two matched microphones set relatively close together, facing in opposite directions. The spacing between the microphones creates a time delay adding to the stereo effect. The greater the angle the greater the stereo spread. Less of an angle yields a more narrow spread.
Stereo Miking Techniques The instruments in the center of the two microphones will be heard midway between the left and right speaker. With greater distance, the off center images are less focused or more diffused. This set-up tends to capture more ambience from the acoustical space, which can be very pleasant to the listener, however the signal tends not to be mono compatible.
Specifications 77 C1 Typical Frequency Response 77 C1 Polar Response 20
Specifications 77 Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Large Diaphragm Multi-Pattern FET Condenser 77 Polar Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cardioid 77 Frequency Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20~20000Hz 77 Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . .
www. miktekaudio.com Nashville, TN USA tel: 615.250.2434 • fax: 615.346.9298 © 2009 - 2013 All Rights Reserved, Miktek.
