Do not attempt to service this unit yourself as it will void your warranty
OPERATION
The TCM 1150 must be powered by the supplied TMPS-2 power supply and amplified by a microphone pre-amp (such as built into a mixer, or a stand-alone unit).
Set-up
1.Connect the TCM 1150 to the TMPS-2 power supply with the XC-7P (7-pin) XLR cable supplied.
2.Connect the TMPS-2 Audio Output to your mixer using a standard balanced 3-pin XLR microphone cable (Note: Before
connecting to a mixer directly, turn the channel to which you’re connecting to its lowest gain setting, and turn off its phantom power.)
3.Connect the TMPS-2 to the AC power supply (first selecting the proper voltage: 115-230VAC)
4.Turn on the TMPS-2 Power ON/OFF Switch.
5.Slowly turn up the channel gain in your mixer to the desired level.
(Note: Make sure to set the mixer to the proper gain level – too much gain may distort subsequent amplifiers and too little may result in a noisy signal.)
6.Select the polar pattern desired with the Polar Pattern Select Switch: omnidirectional, cardioid, figure 8, or one of six intermediate stages.
(Note: Experiment with all these choices to fully utilize the versatility the TCM 1150 can offer for various diverse applications.) (Note: For optimum performance, it is best to let the microphone warm up for 5 to 10 minutes so that the internal vacuum tube can reach its peak specifications.)
Controls and Connections
A. Audio output for connection to a standard balanced 3-pin XLR cable
B. To microphone (use the supplied 7-pin XLR cable: XC-7P)
C. IEC AC cord receptacle (with internal fuse), AC power cable supplied
D. 115/230 VAC select switch. (Note: verify setting is at the correct voltage supplied or the unit will be damaged)
E. Power ON/OFF switch
F. 9-pattern polar pattern select switch
A B FDC E
TMPS-2
USING THE MICROPHONE SHOCK MOUNT
It is recommended that the TCM 1150 be used with the SSM-1150 spider shock mount, which uses an elastic suspension to isolate the microphone from vibration, thereby lowering noise transmitted to the microphone from the stand. This is a useful tool in many situations, such as when the performer is tapping his or her feet, or when there is noise pickup from the rumbling of traffic outside of the building.
The disadvantage of using the shock mount is that the weight of the microphone may make it drift in the elastic suspension, so mic placement may take a little longer.
To insert the TCM 1150 into the SSM-1150 shock mount, pinch close the levers on the sides of the mount to the open position, then slide the microphone into place.
USING THE FOAM WINDSCREEN
The FW-1150 foam windscreen is supplied with the
TCM 1150. This windscreen fits over the grill portion of the microphone and is designed primarily to decrease bass rumble (from wind noise pickup) during outdoor live or recording use. It is also useful in keeping mouth spray out of the microphone head. The windscreen should be used whenever someone is close miked to both protect the microphone and to also eliminate “popping” sounds from percussive breath sounds. An external stand mount pop filter,
such as the Nady MPF-6, is also ideal for this application. (Note: Be aware that the foam windscreen will slightly attenuate the high frequency response of the microphone.) (WARNING: The capsule is the heart of the condenser microphone. If it becomes dirty or wet, the sound will be degraded. Never spray any liquid on the microphone head. Always use a foam windscreen or pop filter if you talk or sing close to the microphone grill screen.)
SERVICE
(U.S.) Should your Nady microphone require service, please contact the Nady Service Department via phone at (510) 652- 2411 or e-mail at service@nady.com
(INTERNATIONAL) For service, please contact the Nady distributor in your country through the dealer from whom you pur- chased this product.
Date of purchase ____________________________________Serial # ____________________________________________________________________________
Dealer’s Name ________________________________________________________________________________________________________________________
Street ________________________________________________________________________________________________________________________________
City ______________________________________________State ____________________________Zip ________________________________________________
TCM 1150 SPECIFICATIONS
Type | True condenser pressure gradient microphone with 1” (25 mm) diameter dual | S/N ratio re 1Pa | 74dB |
| diaphragms and vacuum tube preamplifier | Dynamic range (max SPL to A-weighted noise level) | 116 dB |
Vacuum tube | 6072 (selected from 12AT7) | Ambient temperature range | 14˚F to 140˚F (-10 ˚C to +60 ˚C) |
Capsule capacitance | 50 pF | Relative humidity range | 90% (68˚F, 20 ˚C), 85% (140˚F, 60˚C) |
Polar pattern | Omnidirectional, cardioid, figure 8, and six intermediate stages (silent switching) | Connector | 7-pin XLR (gold plated) |
Open circuit sensitivity @1KHz | -36dBV +/-2dBV (0dBV=1V/Pa) for all patterns | Mic cable | 7-pin XLR cable (XC-7P), 30 ft (10 m) |
Frequency range | 20 to 20,000 Hz | Dimensions | Diameter: 1.8” (46 mm), length: 9.45” (240 mm) |
Rated output impedance | < 200 Ohms | Net weight | 860 g |
Recommended load impedance | =1000 Ohms | Power requirement | Dedicated TMPS-2 powering unit (115/230VAC selectable) |
Max. SPL (1% THD @1000Hz) | 134 dB | TMPS-2 Dimensions and Weight | 2” X 5.5” X 7” (51 X 140 X 178 mm), 3.25 lbs (1.46 Kg) |
Equivalent noise level (A weighted) | = 18 dB-A | Specifications and design subject to change without prior notice for improvement purposes |
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