Introduction
Thank you and congratulations on your purchase of
the Miktek T89 handheld stage microphone. You
work hard to give a better than average performance,
so you demand a better than average microphone to
reproduce the sound of your voice. Miktek T Series
microphones offer way above average sound and build
quality, impressing the most discriminating engineers
and artists. Featuring cutting edge capsule designs that
are perfectly matched to Miktek’s proprietary output
transformers; the T Series Microphones produce a
modern, yet truly classic sound, well suited to today’s
contemporary performers.
In the following sections of this manual you will find
a description of the T89’s features, step-by-step set-
up and operating instructions along with detailed
specifications. In addition, we’ve also included some
basic miking fundamentals for typical live sound and
recording applications. To some of us these may seem
very basic. However, at Miktek we want to encourage
young or new engineers to use our microphones, or at
least to read our manuals and learn something about
recording and live sound. We know you’re serious about
your sound because you purchased an outstanding
audio instrument, and at Miktek, we’re serious
about providing superior products and service to our
customers. We appreciate your patronage and hope you
enjoying using your microphone as much as we enjoy
making them.
Sincerely,
Michael Ketchell - Managing Director
T89 Features
• Dynamic Vocal Microphone
• Neodymium Magnet
• Super Cardioid Pickup Pattern
• Custom Miktek Transformer
• Package with Protective Case and Mic Clip
Description
The Miktek T89 is a super cardioid, dynamic
microphone featuring a custom designed, neodymium
capsule element offering extremely clear and articulate
vocal reproduction. The T89’s frequency response is full
and sweet. Plus, the capsule’s unique labyrinth design
provides precise pattern control and maximum gain
before feedback, so you can hear more of yourself on
T89
Super Cardioid Dynamic Microphone
Owner’s Manual
stage. With high SPL capabilities the T89 can easily
accommodate the loudest singers and can even be
used to mic up loud guitar amps, brass and drums. In
addition, the T89’s smooth and extended frequency
response makes it a great choice for miking acoustic
instruments as well. The T89’s multistage windscreen
helps ensure a minimum amount of p-popping and
the steel grill and die cast body ensure durability and
reliability night after night. The cool, dark gray finish
makes the T89 an attractive complement to any stage
setting.
Understanding Polar Patterns
Perhaps the most important aspect of using your
T89, or any other microphone, is to understand
its polar pick up pattern. Every microphone has a
characteristic polar pattern that determines how well
it accepts or rejects signal coming from various areas
around the microphone capsule. There are many types
and variations of polar patterns but the three most
common are omnidirectional, bidirectional or figure-
eight and unidirectional or cardioid. Omnidirectional
microphones pick up sound from everywhere,
producing the same frequency response regardless of
where the sound source originates (in front of the mic,
behind it, to the side, etc.). A bidirectional or figure-
eight microphone picks up sound directly from the
front and back while rejecting the sound at the sides.
In contrast, cardioid mics are specifically designed to
accept the sound coming from directly in front, and to
reject sound coming from behind or from the sides. The
T89’s capsule provides a super cardioid polar pattern
with an even tighter pick-up pattern. While Omni and
Bidirectional microphones are very useful for a variety
of applications, the majority of miking situations in live
sound applications require unidirectional or cardioid
microphones. When positioned correctly, the cardioid
pattern allows you to pick up more of the sound you
want and less of the sound you don’t want. In live sound
situations, the polar pattern greatly determines how
prone a particular microphone is to inducing feedback.
Feedback is that nasty howling sound that occurs when
a mic is placed too close to a loudspeaker—the signal
from the loudspeaker is fed into the mic, then into the
loudspeaker, then into the mic, over and over. The super
cardioid pick-up pattern allows for better separation of
instruments on stage and more control over feedback in
live sound reinforcement.
