Miktek C5 Owner's Manual

Small diaphragm cardioid pencil condenser microphone

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Small Diaphragm

Cardioid Pencil

Condenser Microphone

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Summary of Contents for Miktek C5

Page 1 Small Diaphragm Cardioid Pencil Condenser Microphone...
Page 3: Table Of Contents
6 - 10 Understanding Polar Patterns Connecting your C5 Powering the C5 Setting Up the Signal Level Microphone Placement The Proximity Effect Stand Mounting the C5 Installing the SM5 Shockmount Applications Guide 11 - 19 Acoustic Guitar Piano Overhead Drum Kit...
Page 4 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...
Page 5: Introduction
Nashville, TN USA The microphone is available as single unit; model C5, or in a matched pair set; model C5MP The C5 is packed in a wooden presentation box along with its proprietary mic stand holder The C5MP set features two C5’s with frequency...
Page 6 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...
Page 7: Features
Features MK5a 0.5-inch Cardioid Capsule with 5-micron Mylar, Evaporated Gold Diaphragm AMI T5 Transformer Hand-selected Transistors Individual serialized Frequency Response Graph Available as a single mic in a wood Presentation Case with Mic Clip; or Available as a stereo matched pair with wood Presentation Case with Mic Clips, Shock-mounts, Windscreens, Stereo Bar Set, in a rugged aluminum carrying case...
Page 8: 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...
Page 9: Connecting Your C5
Connect the C5 to your mixer, mic pre or DAW using a standard XLR microphone cable In order to ensure the proper phase response, please note the C5’s output connecter is wired as Pin 1 Ground, Pin 2 hot or positive, and Pin 3 cold or...
Page 10: Setting Up The Signal Level
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”...
Page 11: The Proximity Effect
The key to developing the best mic technique is experimentation, along with awareness of the general principle that, the closer your C5 is to a signal source, the greater the bass response The proximity effect’s bass lift is caused by the amount of pressure present...
Page 12: Installing The Sm5 Shockmount
5/8-inch mic stand, remove the Euro adapter by unscrewing it from the shockmount • O nce the shockmount is mounted to the stand, carefully slide the C5 through the elastic bands of the shockmount from the front of the microphone to the back • L oosen the thumbscrew to set the microphone angle and then tighten once it’s in place...
Page 13: Applications Guide
Acoustic Guitar There are a variety of ways that the C5 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...
Page 14: Piano
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...
Page 15: Overhead Drum Kit
Because of it’s extended high frequency response and fast transient response, the C5 performs outstandingly when used as an overhead cymbal microphone But, since the C5 also has a thick bottom end response it can sound a lot like microphones with larger capsules, which makes them awesome on overheads You can position one C5 on a boom mic stand directly above the kit pointing from front to back For stereo miking, use two C5’s placed over the drum set at a...
Page 16: Hi Hat
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 Remember that the C5 has a...
Page 17: 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 However, since the recorded tracks were likely created with close miking, the stereo mix is void of a lot of information that the listener would normally enjoy in a live performance When you record live tracks in stereo, not only will you capture the left...
Page 18: Coincidental - Xy Or Crossed Pairs
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...
Page 19 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 The outputs of the two microphones are often connected to a special MS matrix mixer, which combines the mid signal with...
Page 20: Near Coincidental
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 There are a few standards that specify different angles and spacing, with the most popular being the ORTF (the acronym given to the...
Page 21: Baffled
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 In some instances were the microphones are very far apart, a third microphone can be...
Page 22: Specifications
Specifications C5 Typical Frequency Response C5 Polar Response...
Page 23 Specifications Type Small diaphram Condenser Polar Pattern Cardioid Frequency Response 20~20000Hz Sensitivity - 32.4 dBV/Pa Equivalent Noise Level 17dB Dynamic range 109dB S/N Ratio 77dB Max. SPL 126dB Power Supply 48V phantom Power Consumption 0.5mA Specifications are subject to change without notice.

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Miktek C5 Owner's Manual

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