Designed specifically for horns, drums, acoustical and
electric guitars, the N/D468 provides a smooth, natural
sound, capturing the excitement of the instrument. The
supercardioid pattern provides superior rejection and
acoustic isolation in any application. An innovative EV
design harnesses the increased power of a neodymium
based magnet design, allowing a large-diameter voice
coil (up to 50% larger than other mics) for dynamic,
efficient microphone performance. N/DYM
â
offers the
power and clarity to cut through the mix. Whatever
your instrument application the N/D468 is sure to be a top
performer.
•
Designed specifically for musical instruments
Flexible mechanical design for optimum positioning
•
Supercardioid pattern for exceptional acoustic
isolation and feedback rejection
•
Accurate response, even in high sound pressure levels
(SPL)
•
Rugged steel construction for exceptional durability
Operation
The low frequency response of the N/D468 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 ¼ 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 systems sensitivity to feedback caused
by sound entering the microphone from the loudspeakers.
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.
N/D468 User Manual
W
I
R
E
D
M I C R O P H O N E
