7
SP25B Condenser Microphone System for Acoustic Bass
The SP25B
is the same microphone as the S25B however uses the “super pre-amp” which has
2 XLR outputs, one of which has a ground lifted isolation transformer split. A quarter inch line
driver output with volume control is also included. The pre-amp runs off of battery, phantom
power, or optional power supply.
The “Super Pre-Amp” has 3 outputs. There are two XLR outputs, each for a different use. The
one on the left is your standard XLR output for standard use to a PA System. The XLR on the
right is an isolation transformer marked ITS. If you performing with a PA that starts to “hum”,
move the connection from the standard XLR output to the right or isolation XLR output. This should eliminate the ‘hum’. The
inch output
is your line driver. You can use the line driver in conjunction with your amp, and send the XLR signal to the house PA or recording device. The
external volume control is for the line driver /
inch output.. The preamp works with Phantom power or a 9 volt battery. We recommend
using the 9-volt battery all the time. The line driver and isolation transformer will not work unless you have a 9-volt battery in the pre-amp.
The preamp also has an internal volume control that you can adjust with a screw driver. You should only use this if more or less gain is
required to match the gain on your existing amplifier.
S18C Condenser Microphone System for Cello
The S18C is an electret-condenser microphone designed for cello. This microphone has all the same characteristics of the bass microphone
(S25B) with the exception of a slightly wider pattern, higher frequencies, and smaller size.
AMT P43S Harp Microphone System
The AMT P43S Microphone is attached to a two-part clip. The clip will fit into the sound holes in the back of almost any harp. Simply turn the thumbscrew to
loosen the clip, slide it over the edge of a sound hole, and tighten the thumbscrew again.
Positioning the Microphone
There is not any “correct” spot to attach the microphone to the harp. Each harp has its own place where the microphone will sound best. If you have multiple
sound holes in the back of your harp, you may want to try the microphone in all of them. The microphone attaches as readily at the top of a sound hole as at the
bottom. The gooseneck can be bent to point the microphone straight in or at an angle, and to position it either outside or inside the body of the harp. We
encourage you to try several positions and get a feel for the different types of sound you will get with the mic in different places. In general, positioning the
microphone higher up on the harp will emphasize the higher notes, while putting it lower emphasize bass notes. You may be able to
use this to “tune” your harp to the room in which you are playing.. It is a good idea to position the microphone so that it does not come
in contact with your clothing while you are leaning the harp back or while playing, as this will cause unwanted noise.
A good place to start this process is with the microphone as close as possible to the center of the sound box (top to bottom as well as
side to side), with the head of the microphone slightly outside the harp and pointing straight into a sound hole.
Connecting the Microphone
Summary of Contents for 97-4C
Page 9: ...9 ...
