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Table of Contents
Related Manuals for Miktek C7
Summary of Contents for Miktek C7
- Page 1 Large Diaphragm Multi-pattern FET Condenser Microphone...
- Page 2 Miktek, LLC 1200 Clinton Street, Suite 15 • Nashville, TN 37203 tel 615.250.2434 • fax 615.346.9298 ©2010 All Rights Reserved, Miktek, LLC. Printed April, 2010 v1_2 www. miktekaudio.com...
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Page 3: Table Of Contents
6 - 10 Using the Polar Patterns Connecting your C7 Powering the C7 Setting Up the Signal Level Microphone Placement The Proximity Effect Stand Mounting the C7 Installing the SM7 Shockmount Applications Guide 11 - 19 Vocal Acoustic Guitar Piano... - Page 4 You’ve done, done it… You’ve purchased a truly exceptional piece of audio gear! Congratulations and thank you for purchasing the C7 Large Diaphram FET Condenser 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...
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Page 5: Introduction
The microphone produces amazing results when recording acoustic instruments, guitar amps, or as overheads on a drum kit But of course, the C7 really excels on vocal applications The C7 utilizes the new MK7 capsule developed by Miktek engineers, featuring dual 1-inch diaphragms made using 5-micron Mylar with a 0 4-micron layer of evaporated gold Diaphragms are then precisely tensioned, mounted to carefully tuned backplates, and finally set back- to-back, with electronic isolation, to create the finished capsule The C7’s electronic circuit design is unique and features... -
Page 6: Introduction
Introduction With proper care your C7 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 MK7 Dual 1-inch Capsule 5-micron Mylar, Evaporated Gold Diaphragms Cardioid, Omni and Bi-directional Pick-up Patterns High-pass Filter & -10dB Pad Switches Variable Capsule Bias Voltage: 48 – 60v AMI T7 Transformer Individual serialized Frequency Response Graph Wood Presentation Case with Swivel-mount, Shock-mount and rugged aluminum Carrying Case... -
Page 8: Operating The C7
(in front of the mic, behind it, to the side, etc ) When the C7 is set to the figure-eight pattern the microphone picks up sound directly from the front and back... -
Page 9: Connecting Your C7
Connect the C7 to your mixer, mic pre or DAW(Digital Audio Workstation) using a standard XLR microphone cable In order to ensure the proper phase response, please note the C7’s output connecter is wired as Pin 1 Ground, Pin 2 hot or... -
Page 10: Setting Up The Signal Level
Using the PAD The C7 has a 10 dB PAD for miking loud signals If you turn your mic trim all the way down and the signal is still clipping, switch on the C7’s 10 dB PAD, then reset the trim level as described in the previous section... -
Page 11: The Proximity Effect
If you are using a US standard 5/8-inch mic stand, remove the Euro adapter by unscrewing it from the mic holder Screw the holder to a solid mic stand, then line up the bottom threaded section of the C7 to the holder and slowly rotate the microphone clockwise until it screws on hand tight Be careful not to cross thread the screws You can loosen the bottom thumbscrew on the holder to make left and right adjustments to the mic, and then re-tighten it once it’s in place Loosen... -
Page 12: Installing The Sm7 Shockmount
Operating the C7 Installing the SM7 Shockmount The C7 kit comes with a SM7 shockmount, which you can use to greatly reduce any noise transmitted through the mic stand The shockmounts are especial useful in reducing the problems caused by... -
Page 13: Applications Guide
4 to 10 inches away To avoid unwanted p-popping, use of an external pop filter is strongly recommended If no pop filter is available try to set the microphone at a slight angle, which will also help reduce p-pops When the C7’s... -
Page 14: Acoustic Guitar
Acoustic Guitar There are a variety of ways that the C7 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 15: Piano
When miking a Grand Piano, (for an ambient sound like that used in a classical recital), a single C7 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 C7’s inside the piano positioning one over the low strings and the other over the... -
Page 16: Overhead Drum Kit
You can position one C7 on a boom mic stand directly above the kit pointing from front to back For stereo miking, use two C7’s placed over the drum set at a distance of two to three feet depending on the size of the kit You can experiment with the exact placement depending on the size of the room and whether you’re looking for an ambient or... -
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 The wider the angle, the wider the stereo spread Since the microphones are set on the same axis, the distance is... - Page 19 Applications Guide 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 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 inputs of a...
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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 C7 Typical Frequency Response C7 Polar Response... - Page 23 Specifications Type Large Diaphragm Multi-Pattern FET Condenser Polar Pattern Cardioid, Figure-8 and Omni Frequency Response 20~20000Hz Sensitivity -29, - 34, -38 dBV/Pa Equivalent Noise Level 13, 18, 22 dB Dynamic range 105dB S/N Ratio 81, 76, 72dB Max. SPL 127 dB Power Supply 48V phantom Specifications are subject to change without notice.
- Page 24 1200 Clinton Street, Suite 15 • Nashville, TN 37203 tel 615.250.2434 • fax 615.346.9298 ©2009 All Rights Reserved, Miktek. Printed April, 2010 v1_2...
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