N / D Y M
®
W
I
R
E
D
MICROPHONES
General Product Description
The N/D478’s acoustic response presents optimal performance in both a
live sound or studio environment.The new “vocally optimized bass” or
VOB
™
technology provides the instrumentalist with reduced resonant
distortion at low frequencies. Critical damping of the low frequency
resonant peak has resulted in a microphone that replaces the “muddiness”
found in competitive models with greater warmth and increased clarity.
The result is a exceptional performing instrument microphone with clean,
clear, consistent sound that “cuts through the mix.”
• VOB
™
technology provides tailored bass response for controlled
“proximity effect” and exceptional sound clarity
• Excellent choice for micing acoustical or electrical instruments
whether in a live sound or studio environment
• Neodymium based magnet provides greater sensitivity and signal
to noise ratio
• Cardioid pattern for superior feedback rejection and acoustic isolation
• Warm Grip
™
handle for comfortable feel and lower handling noise
Operation
The low frequency response of the N/D478 microphone varies with the
distance from the sound source. Known as “proximity effect,” maximum
bass response is produced in “close-up” use with the microphone 1/4 inch
from the sound source. Normal bass response is experienced with working
distances greater than 24 inches.Working close to the microphone will
produce a more robust sound. Close up positioning of the microphone
will also reduce the potential for feedback from the sound reinforcement
system.When close-miced, the bass-boost provides an increase in overall
microphone output level.The mixer gain may be proportionately reduced,
resulting in a reduction of the system’s sensitivity to feedback caused by
sound entering the microphone from the loudspeakers.
N/D478
Instrumental Microphone
Microphone Use and Placement
Please note that micing techniques are a matter of personal preference.
These are merely guidelines to assist in the placement of the microphone to gain optimal performance.
Usage Optimal
Placement
Electric Guitar and Bass Guitar Amplifier
Place microphone approximately 1-2" from and at a 90° degree angle to the speaker cone.
To reduce boominess, move the microphone off axis to the cone from 90° to 45°, or move mic
from center of cone to either edge.
Tom-Toms
On double headed Toms place mic over the top of drum 1-3" and at a 45° angle to the drum
surface and 1-2" in from the drum edge. On single headed Toms use above method or place
mic inside Tom from underneath at a 90° angle from the center of head, 3-5", away.
Snare Drum
Place mic 1-3" above the heads, 1-2" in from the rim. Aim each mic at the top heads angled
down about 45°. If the drum rings, tape deadening material to the head or use damping rings.
For more “snare” sound place a 2nd mic underneath aimed up at the bottom of head.
Cymbals
Place microphone one to two feet above the top of cymbals.
High-Hat
Place 5 inches above outside edge at a 45° down angle.
Brass
6-24" away, and on axis with the bell of the instrument.
Acoustic Guitar
Place mic 6-12" from where finger board joins the body.
