CV4 Large Diaphragm Multi-pattern Tube Condenser Microphone
Miktek, LLC 348B Valeria St • Nashville, TN 37210 tel 615.250.2434 • fax 615.346.9298 ©2010 All Rights Reserved, Miktek, LLC. Printed May, 2010 v1 www. miktekaudio.
Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 - 4 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Operating the CV4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
You’ve done, done it….. You’ve purchased a truly exceptional piece of audio gear! Congratulations and thank you for purchasing the CV4 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 CV4 is a large-diaphragm tube condenser microphone offering nine pick-up patterns. The CV4’s sound is truly large and produces a musical response that will please artists, producers and most seasoned engineers alike. The bottom end is big, warm and tight, with mids that are present and even, along with a high frequency response that’s sweet and airy.
Introduction With proper care your CV4 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 miktekaudio.com to register on line.
Features 77 Classic Large-diaphragm Tube Condenser Design 77 MK9 Dual 1-inch Capsule with 5-micron Mylar, Evaporated Gold Diaphragms 77 Nine Selectable Pick-up Patterns; Omni, Cardioid, Figure-8 and transitional patterns in between each of those.
Operating the CV4 Using the Polar Patterns Perhaps the most important aspect of using your CV4, or any other microphone, is to understand its available polar pick up patterns. Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal coming from various areas around the microphone capsule. You can use the CV4’s polar pattern switch, located on the PS4 power supply’s front panel, to select one of the available polar patterns.
Operating the CV4 microphone is to inducing feedback. Feedback is that nasty howling sound that occurs when a mic is placed too close to a loudspeaker—the signal from the loudspeaker is fed into the mic, then into the loudspeaker, then into the mic, over and over again until an oscillating tone is generated.
Operating the CV4 Setting Up the Signal Level In order to get a good signal, first be sure that the CV4 is connected to a mixer or recorder input that is microphone level. As explained in the previous section “Powering the CV4”, be sure that the PS4 power supply is connected properly and 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 CV4 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 CV4 Installing the SMS-1 Shockmount The CV4 kit comes with a SMS-1 shockmount, 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. • To use the CV4 with its included shockmount, screw the shockmount on a solid mic stand.
Applications Guide The CV4 is a great microphone choice for many instrument miking situations. Below is a brief guide on using the CV4 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 CV4 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 CV4 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 CV4 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 CV4 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 CV4’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 CV4’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.
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. The wider the angle, the wider the stereo spread.
Applications Guide 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 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.
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 CV4 Typical Frequency Response 20 77 CV4 Polar Response
Specifications 77 Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Large Diaphragm Nine-Pattern Tube Condenser 77 Polar Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . N ine Selectable; Omni, Cardioid, Figure-8 and a transitional patterns in between each of those. 77 Frequency Response . . . . . . . . . . . . . . . . . . . . . . . . . . . .
www. miktekaudio.com 348B Valeria St • Nashville, TN 37210 tel 615.250.2434 • fax 615.346.9298 ©2009 All Rights Reserved, Miktek.
