How To Use The Sass Microphone - Crown PZM-10 Application Manual

mics have weak deep bass. The SASS does not have this
problem because it is not directional at low frequencies.
It has excellent bass response extending to 20 Hz.
Simple to Use
Mid-side stereo microphones require a matrix box be-
tween the microphone and recorder. This box converts
the mid and side signals from the microphone to left
and right signals for stereo recording. The SASS already
has left and right outputs, so it needs no in-line matrix box.
It's easy to tell where to aim the SASS by looking at it.
In contrast, some stereo microphones are difficult to
aim properly.
Excellent Performance
The SASS has very wide-range, smooth frequency
response (20 Hz–18 kHz), and very low pickup of
mechanical vibrations and wind noise.
Summary
The SASS is a stereo microphone using PZM® technol-
ogy. The unit provides excellent stereo imaging, has a
natural tonal balance, is mono-compatible, is easy to
use, and costs less than the competition. It comes with
a carrying case and a full line of accessories.
HOW TO USE THE SASS
Do not place the SASS closer than 3 feet from the
sound source, or the center image will be weak or
muffled (Fig. 58).
Center sound source too close to
SASS: mic capsules can't "hear" it,
because its sound is blocked. Re-
sult: weak center image.
In live-to-2-track recording, we recommend that the
final placement decisions be made while monitoring on
loudspeakers for more-accurate imaging.
If the correctly monitored stereo spread is excessive
(because of close mic placement), run the SASS signals
through a stereo mixer with pan pots, and pan the two
channels toward center until the stereo spread is correct.
This can be done during recording or post-production.
Center sound source far from SASS:
both mic capsules hear it. Results:
strong center image.
Fig. 58
Large musical ensembles (orchestra,
band, choir, pipe organ)
Place the SASS 4 to 15 feet from the front row of
musicians. Angle it down so that it will be aimed at the
performers when raised, and raise it about 15 feet high
on a microphone stand (Fig. 59). Closer placement to
the performers will sound more edgy, detailed, and dry:
farther placement will sound more distant, blended and
reverberant. Try to find a spot where you hear a pleasing
balance between the direct sound from the ensemble
and the hall ambience.
Because the SASS is quite sensitive to the sides as well
as the front, closer placement will not be as dry as with
directional microphones. Hence, the SASS can be placed
into an ensemble farther than is ordinarily possible,
providing greater detail and spread, if that is desired,
without feeling forced or unnatural. The center of the
sound image and the hall reverberation are still retained.
If you are recording a choir that is behind an orchestra,
experiment with the stand height to find the best
balance between the two sources. The strings project up-
ward while the choir projects forward, so you might find
a better balance at, say, 9 feet high rather than 15 feet.
Small musical ensemble or soloist
(quartet, small combo, background
harmony vocals, solo piano, harp,
or guitar)
Place the SASS 3 to 8 feet away at ear height. Move closer
for less reverb and noise, farther for more hall acoustics.
For a grand piano, place the SASS in-line with the lid.
Placement near the hammers sounds more trebly; place-
ment near the tail sounds more bassy.
Drum set
See Fig. 60. Place the SASS above the level of the snare
drum, below the cymbals, aiming at the snare drum
about 3 feet away, midway between the mounted tom
and floor tom. You may need to boost a few dB around
10 kHz - 15 kHz. Add another microphone of your
choice in the kick drum. The SASS also works well as
an overhead mic.
20
Fig. 59