C5 Small Diaphragm Cardioid Pencil Condenser Microphone
Miktek, LLC 1200 Clinton Street, Suite 15 • Nashville, TN 37203 tel 615.250.2434 • fax 615.346.9298 ©2009 All Rights Reserved, Miktek. Printed April, 2010 v1.2 www. miktekaudio.
Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 - 4 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Operating the C5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
You’ve done, done it….. You’ve purchased a truly exceptional piece of audio gear! Congratulations and thank you for purchasing the C5 or C5MP Pencil Condensers 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 C5 provides discerning engineers a valuable new tool for critical recording, especially of acoustic instruments. The C5 is fitted with our MK5a, 0.5-inch cardioid capsule, which produces a super-linear, full-bodied response. The capsule employs a 5-micron tensioned Mylar diaphragm, on which a 0.5-micron layer of evaporated gold is applied.
Introduction With proper care your C5 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 MK5a 0.
Operating the C5 Understanding Polar Patterns Perhaps the most important aspect of using your C5, 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 C5 over again until an oscillating tone is generated. The cardioid pattern utilized by the C5 is so good at rejecting signal not coming from directly in front of the microphone, you’ll find that use of the C5 greatly minimizes feedback problems when used in loud sound applications. Connecting your C5 Connect the C5 to your mixer, mic pre or DAW using a standard XLR microphone cable.
Operating the C5 Setting Up the Signal Level In order to get a good signal, first be sure that the C5 is connected to a mixer or recorder input that is microphone level. As explained in the previous section “Powering the C5”, be sure that the Phantom power is turned on. Most quality mixers, mic pre’s and DAW’s provide microphone inputs with a mic trim (“trim” is jargon. the control is usually called Mic Gain or Level) control.
Operating the C5 The Proximity Effect All cardioid or uni-directional microphones exhibit a phenomenon known as “proximity effect”. The proximity effect is the increase in low frequency response a microphone exhibits as it is moved closer to the sound source. Vocalist tend to love this effect since when they get really close to the mic they get the “FM radio”, big bass sound. A good vocalist with good mic technique will use the proximity effect to adjust their tonal response in real time.
Operating the C5 Installing the SM5 Shockmount The C5MP kit comes with two SM5 shockmounts, which you can use to greatly reduce any noise transmitted through the mic stand. The shockmounts are especial 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 a solid as it should be.
Applications Guide The C5 is a great microphone choice for many instrument miking situations. Below is a brief guide on using the C5 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 - continued For nylon string acoustic, try positioning the microphone above the bridge to emphasize more of the attack from the sound of the finger picking, or for less, move the mic closer to the sound hole. If you have a pair of C5’s, try one positioned at the fingerboard and the second over the sound hole. Try positioning one mic in the front of the guitar pointed towards the fingerboard and another over the right shoulder (right handed player).
Applications Guide strings. To achieve a more realistic sound, it’s a good idea to leave some space between the instrument and the microphone, especially if you are recording a solo instrument. Also, keep in mind how the track ultimately needs to fit into the mix. For example, if you are recording a solo performance of Chopin, you would likely want a very even response and you’d want to capture the left hand sustianato.
Applications Guide Hi Hat The C5 is a perfect microphone for miking Hi Hats thanks to its smooth top end and the ability to capture fast attack transients. Try placing the microphone over the edge of the top cymbal. Experiment by moving the mic further over the cymbal to produce more of a stick sound, but keep in mind it may pick up more of the kit.
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.
Applications Guide 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. You can use the C5MP’s included stereo mounting bar to set the mics in this position.
Applications Guide MS – Mid side The Mid side technique makes use of two microphones, with one figure-8 and a second mic either cardidod or omni , or two figure-8 pick patterns. The first microphone (the mid), either figure-8, omni or cardioid microphone, is positioned facing directly at the sound source. The second microphone (the side), with a figure-8 pattern, is positioned on the same axis directly above or below the first, but with the capsules positioned at a 90-degree angle from the front.
Applications Guide Near Coincidental Near coincidental or AB mic set up used 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.
Applications Guide 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 C5 Typical Frequency Response 77 C5 Polar Response 20
Specifications 77 Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Small diaphram Condenser 77 Polar Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cardioid 77 Frequency Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20~20000Hz 77 Sensitivity . . . . . . . . . . . . . . . . . . . . .
www. miktekaudio.com 1200 Clinton Street, Suite 15 • Nashville, TN 37203 tel 615.250.2434 • fax 615.346.9298 ©2009 All Rights Reserved, Miktek. Printed February, 2010 v1.
