M-Audio M-Audio FamilyChapter 6of Microphones, Patterns Cardioid, Omni & Figure Address Top

Page 33

The M-Audio FamilyChapter 6of Microphones

At this point, you￿ve learned a good deal about how microphones work, how they are built and how they are typically applied.Along the way, we￿ve occasionally referred to some of the specific models in the Groove Tubes family of mics. Here￿s a brief overview of the entire M-Audio lineup:

All M-Audio mics share a great deal in common. Here￿s a brief review in the context of some of the mic construction features discussed in first part of this guide.

¥20Hz—20kHz frequency response (+/- 1dB) in FET mics

¥industry-thinnest, ultra-sensitive diaphragms

¥precision-crafted solid brass backplate

¥industry-lowest dynamic distortion

¥FET rather than op amps for improved dynamic distortion

¥Class A head amp electronics

¥Precision manufacturing and quality control

Model:

Solaris

 

 

Diaphragm:

1.1” x

3

microns

Electronics:

Class A

FET

Patterns:

Cardioid, Omni & Figure 8

Address:

Top

 

 

Applications:

Excellent

on stringed instruments,

 

overhead cymbals and vocalists who

 

already have a deep voice. Great for

 

close-miking anything without proximity

 

effect.

Good results for most other

 

applications, including stereo miking.

Model:

Luna

 

 

Diaphragm:

1.1” x

6 microns

Electronics:

Class A

FET

 

Patterns:

Cardioid

 

Address:

Top

 

 

Applications:

The ultimate acoustic guitar mic.

 

Exceptional

on stringed instruments,

 

overhead cymbals and vocalists. Excellent

 

for close-miking anything without

 

proximity effect. Very good results for

 

most other

applications.

Model:

Nova

 

 

 

 

Diaphragm:

1.1” x

6

microns

 

 

Electronics:

Class A

FET

 

 

Patterns:

Cardioid

 

 

 

Address:

Side

 

 

 

 

Applications:

Excellent on vocals and grand piano. A

 

good all-around instrument mic. Excellent

 

sensitivity

and

pattern

flexibility for

 

duets, stereo and

ensemble

recording.

Choosing & Using Microphones

33

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Contents Page Contents Microphone Types MicrophoneC apter 1DesignDynamic microphones Ribbon microphonesCondenser microphones Capsule SizeSmall Capsules BackplateMedium Capsules Large CapsulesCardioid pattern PatternsSingle pattern vs. multi-pattern mics Super-cardioid patternMicrophone Electronics Top Address vs. Side Address DesignsTube electronics Tubes vs. solid stateManufacturing Standards Solid state electronicsStory behind affordable matched pairs for stereo-miking Higher standards Choosing & Using Microphones Caring forChapterMicrophones2 Temperature and HumidityShock Protection Pop Filters and WindscreensCleaning and Storage Close-Miking vs. Distance-Miking Techniques Basic MikingChapterConcepts3Large Capsules vs. Medium Capsules Dealing with Unwanted Low-FrequenciesMic Preamp Revolutionary New Tampa Preamp Recording EnvironmentPhasing Issues with Multiple Microphones Choosing & Using Microphones Choosing & Using Microphones Appropriate angle Stereo MikingChapterTechniques4Mid-Side BlumleinDecca Tree Spaced OmniChoosing & Using Microphones Vocals Specific MikingChapterApplications5Acoustic Guitar Grand Piano Electric GuitarDrums Three different approaches to miking Drum kit with two mics Choosing & Using Microphones Choosing & Using Microphones Choosing & Using Microphones Patterns Cardioid, Omni & Figure Address Top M-Audio FamilyChapter 6of MicrophonesProblem No audio from mic TroubleshootingAppendix a TipsProblem Audible buzz Problem Sound is muffledContactAppeInformationdix B Audio CanadaAudio France Audio Germany Audio Japan