Electro-Voice N/D468 User Manual

Designed specifically for horns, drums, acoustical and
electric guitars, the N/D468 provides a smooth, natural
sound, capturing the excitement of the instrument. The
supercardioid pattern provides superior rejection and
acoustic isolation in any application. An innovative EV
design harnesses the increased power of a neodymium
based magnet design, allowing a large-diameter voice
coil (up to 50% larger than other mics) for dynamic,
efficient microphone performance. N/DYM® offers the
power and clarity to "cut through the mix." Whatever
your instrument application the N/D468 is sure to be atop
perfomier.
• Designed spccificalh for musical instruments
Flexible mechanical design for optimum positioning
• Supercardioid pattern for exceptional acoustic
isolation and feedback rejection
• Accurate response, even in high sound pressure levels
(SPL)
• Rugged steel construction for exceptional durabiliU
Operation
The low frequency response of the N/D468 microphone
varies w ith the distance from the sound source Know n as
■'proximitv' effect." maximum bass response is produced
in "close-up" use with the microphone
Va
inch from the
sound source. Normal bass response is experienced w ith
w orking distances greater than 24 inches. Working close
to the microphone will produce a more robust sound
Close up positioning of the microphone w ill also reduce
the potential for feedback from the sound reinforcement
system When close-miccd. the bass-boost provides an
increase in overall microphone output level. Tlie mixer
gam mav be proportionatclv reduced, resulting in a
reduction of the system's sensitiv itv to feedback caused
bv sound entering the microphone from the loudspeakers.
Microphone Use and Placement
Please note that micing techniques are a matter of personal
preference. These are merely guidelines to assist in the
placement of the microphone to gain optimal performance.
Usage Optimal Placement
Electric Guitar Place microphone approximately 1-2"
and Bass Guitar from and at a 90° degree angle to the
Amplifier speaker cone. To reduce boominess,
move the microphone off axis to the cone
from 90° to 45°, or move mic from center
of cone to either edge.
Tom-Toms On double headed Toms place mic over
the top of dram 1-.5" and at a 45° angle to
the dram surface and 1-2" in from the
dram edge. On single headed Toms use
above method or place mic inside Tom
from underneath at a 90° angle from the
center of head. 3-5" aw av.
Snare Dram Place mic 1-3" abov e the heads. 1-2" in
from the rim. Aim each mic at the top
heads angled down about 45°. If the
dram rings, tape deadening material to
the head or use damping rings. For more
"snare" sound place a 2nd mic
underneath aimed up at the bottom of
head.
Cv mbals Place microphone one to tw o feet above
the top of cv mbals.
High-Hat Place 5 inches above outside edge at a
45° dow n angle.
Brass 6-24" away, and on axis w ith the bell of
the instniinent.
Acoustic Guitar Place mic 6-12" from w here fingerboard
joins the bodv