Crown PZM-10 Application Manual page 23

Moving vehicles
(car hood, handlebars)
We recommend that you devise a shock-mount system
to be used under the microphone. Also be sure to put
on the windscreen, and enable the low-cut switch (or
use low-cut filters in your mixer).
Electronic News Gathering (E.N.G.)
You can often record an announcer and ambience with
the SASS alone, without an extra handheld or lavalier
mic on the announcer. If the ambient noise level is too
high, use a mixer to blend a close-up microphone
(panned to center) with the SASS.
The SASS will give a slight but not noticeable boost to
the appropriate side if the talent moves away from frame
center. If the SASS is camera mounted, use the windscreen
to subdue wind noise caused by camera movement.
Because of its light weight, the SASS can be mounted
on a fishpole, floor stand, boom stand, or tripod,
in addition to the handgrip.
CHOOSING THE RIGHT CROWN BOUNDARY MICROPHONE
Application
Recording
Multiple Boundary Recording/P.A.
Stereo Recording
Stage Floor
Conference Table
Models MB-1, MB-2, and MB-4E require an
MB-100 or MB-200 interface. The MB-200
interface allows remote sensing of switch
closure, so it can be used with a video switcher.
Piano Sound Reinforcement
Ambience
Security/Surveillance
Fig. 60
Samples and sound effects
If you sample a sound source in a particular off-center
position, the SASS will accurately reproduce the image
location. Recorded ambience will sharpen the image,
but is not necessary.
If you record ambience along with the sample, the ambi-
ence will be reproduced whenever the sample is played.
So you may want to make several samples of one source
at different distances to include the range of added
reverberance or ambience.
Suppose you're sampling in stereo and picking up ambi-
ence. If the sample is pitch-shifted, the direction of the
images and perceived size of the room will be affected by
most pitch-changing algorithms. You can minimize these
effects by sampling at intervals of one-third octave or less.
When looping, try to control the room ambience so it is
consistent before and after the sample (unless reverber-
ant decay is desired as part of the sample).
When recording a moving sample or effect, experiment
with the distance between the microphone and the clos-
est pass of the sound source. The closer the SASS is to
the path of the subject, the more rapidly the image will
pass the center point (almost hopping from one channel
to the other). To achieve a smooth side-to-side move-
ment, you may need to increase the distance.
Suggested Model
PZM-30D Rugged, use with detachable cable.
PZM-6D Inconspicuous, permanently attached cable.
PZM-6D Unscrew cantilever from plate.
SASS-P MK II Stereo PZM microphone.
PCC-160
PCC-170 Supercardioid.
PCC-170SW Supercardioid with push on/off membrane switch.
PCC-130 Small cardioid.
PCC-130SW Small cardioid with push on/off membrane switch.
Mini Boundary Microphones : Very small mics with a half-supercardioid pattern.
Five models are available:
MB-1 : Plugs into a brass cup in the table.
MB-2 : Plugs into a jack in the table.
MB-3 : Tubular; mounts in ceiling, wall or table.
MB-4 : For temporary use. Has a thin cable with XLR connector.
MB-4E : Lowest cost. Cable fits through small hole in table.
PZM-30D, PZM-6D or PCC-160 on underside of lid.
PZM-30D or PZM-6D on walls.
PZM-11, PZM-11LL, PZM-10, PZM-10LL
21