Miktek CV3MP Owner's Manual

Large diaphragm multi-pattern tube condenser microphone

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CV3

Large Diaphragm

Multi-pattern Tube

Condenser Microphone

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Page 1 Large Diaphragm Multi-pattern Tube Condenser Microphone...
Page 3: Table Of Contents
Table of Contents Introduction 3 - 4 Features Operating the CV3 6 - 10 Using the Polar Patterns Connecting your CV3 Powering the CV3 Setting Up the Signal Level Microphone Placement The Proximity Effect Stand Mounting the CV3 Installing the SM7 Shockmount Applications Guide 11 - 19 Vocal...
Page 4 Most of us who’ve purchased the CV3 are already experienced engineers, so these may seem quite basic However at Miktek, we want to encourage young or new engineers to use our microphones, or at least to read our manuals and learn something about recording and live sound We know you’re serious about your productions because you purchased such an outstanding audio instrument, and at Miktek, we’re...
Page 5: Introduction
The Miktek CV3 is hand-built using components from the US, Europe and Asia, and is tested and packaged in Nashville, Tennessee, USA Each microphone includes its serialized frequency response graph created during final...
Page 6 615 250 2434 for a Return Authorization number If you purchased the microphone outside of the US, please contact your local distributor for service Please feel free to call us with any questions you may have about this or any other Miktek product...
Page 7: Features
MK9 Dual 1-inch Capsule with 5-micron Mylar, Evaporated Gold Diaphragms Nine Selectable Pick-up Patterns; Omni , Cardioid, Figure-8 and transitional patterns in between each of those. Custom Designed US Made Miktek Output Transformer Subminiatre Pentode Vacuum Tube Individual serialized Frequency Response Graph...
Page 8: Operating The Cv3
Operating the CV3 Using the Polar Patterns Perhaps the most important aspect of using your CV3, 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 CV3’s polar pattern switch, located on the PS4 power supply’s front panel, to select one of the available polar patterns The CV3 provides nine polar pick-up patterns;...
Page 9: Connecting Your Cv3
Operating the CV3 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 The cardioid pattern utilized by the CV3 is so good at rejecting signal not coming from directly in front of the microphone, you’ll find that use of the CV3 greatly minimizes feedback problems when used in live sound applications...
Page 10: Setting Up The Signal Level
Remember, the front side of the microphone is the same side as the Miktek logo As you become more experienced in miking techniques, you’ll quickly realize the microphone placement is critical to getting the sound you want For more information on typical miking,...
Page 11: The Proximity Effect
Operating the CV3 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 The key to developing the best mic technique is experimentation along with awareness of the general principle that, when the pattern switch...
Page 12: Installing The Sm7 Shockmount
• Y ou can loosen the bottom thumbscrew slightly to make left and right adjustments to the mic, and then re-tighten it once it’s in place Remember, the front side of the microphone is the same side as the Miktek logo • L oosen the thumbscrew to set the microphone angle and then tighten once it’s in place...
Page 13: Applications Guide
Applications Guide The CV3 is a great microphone choice for many instrument miking situations Below is a brief guide on using the CV3 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 Place your head up high and close to the floor Imagine your ears are the microphones What do you hear that you like? Then, once...
Page 14: Acoustic Guitar
Applications Guide Acoustic Guitar There are a variety of ways that the CV3 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 When miking a standard steel string acoustic, a good place to start is with the microphone positioned pointing towards the end of the fingerboard at a distance of about 6 inches to 2 feet away from the instrument You can experiment by moving the microphone slightly in the direction...
Page 15: Piano
Applications Guide Piano You can achieve outstanding results using the CV3 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 CV3 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 For a more contemporary sound with better isolation, place two CV3’s inside the piano positioning one over the low strings and...
Page 16: Strings
Applications Guide Strings Place the CV3 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 CV3’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 CV3’s, you can try the XY or ORTF stereo mic set-ups described in the following section, “Stereo Miking Techniques”...
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
Stereo Miking Techniques 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 Since the microphones are...
Page 19 Stereo Miking Techniques 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 is 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 You can also connect the two microphones outputs to two...
Page 20: Near Coincidental
Stereo Miking Techniques Near Coincidental Near coincidental or AB mic set up use 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
Stereo Miking Techniques 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 where the microphones are very far apart, a third microphone can be...
Page 22: Specifications
Specifications CV3 Typical Frequency Response CV3 Polar Response...
Page 23 Power Supply ....... . Miktek PS4 Specifications are subject to change without notice.

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Miktek CV3MP Owner's Manual

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