7
UM TGMIC-021419
TIP:
If when in the cardioid pattern, the microphone is re-
quired to be placed in close proximity to a source—such as
acoustic guitar—where capture of low frequency data may
be less desired, or in small environments where natural build-
up can occur, try using tape equalizer setting #2 (
NAB/IEC 15
Ips
) or #3 (
FLAT
,) or #4 (
IEC/NAB 15 Ips
) with or without
low-cut engaged.
TIP:
Use the cardioid pattern in scenarios where minimal
pickup at the rear of the microphone is desired.
Omni
The omni-directional polar pattern or omni, denoted as a cir-
cle icon, is spherical, picking-up from all sides of the capsule,
e.g. the pattern is indiscriminate to the direction of sound
incident.
Proximity effect is not a feature of the omni pattern, and as
a result, an apparent drop in lows (and apparent level,) is a
normal byproduct of this setting. However, if while in omni
more low-end is desired, simply use of one the bass em-
phasis tape equalizer settings, for example—
System B
,
Tape
Equalizer
setting #1 (
NAB/IEC 7.5 Ips
) with or without
Low
Cut
, or
System A
,
Tape Equalizer
setting #4 (
IEC/NAB 15 Ips
)
or #5 (
IEC/NAB 7.5 Ips
) with or without
Low Cut
engaged.
TIP:
Use omni where a sense of space is apropos, for ex-
ample, strings, acoustic guitars, pianos or other material, or a
more natural distribution of low-end is preferable.
Pad
Facility to decrease the sensitivity of the microphone by -10
dB exists via the on-board
Pad
toggle switch, located at up-
per portion of the microphone’s body. The
Pad
is actuated
by
p
lacing the switch to the downward position and is ac-
complished using the supplied pattern select screwdriver or
similar device.
TIP:
Use the pad in scenarios where the sound incidence is
overloading the capsule. For high SPL sources such as— kick
drum, bass or electric guitar cabinets, use the TG micro-
phone’s input system B with or without the pad as needed.
