Introduction
Thank you and congratulations on your purchase of
the Miktek PM9 , Performance Series 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
Performance Series handheld 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
Performance 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 PM9’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 quite 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 serous about your sound because
you purchased an outstanding audio instrument, and at
Miktek, we’re serous about providing superior products
and service to our customers. We appreciate your
patronage and hope you enjoying using your microphones
as much as we enjoy making them.
Sincerely,
Michael Ketchell - Managing Director
PM9 Features
• Dynamic Vocal Microphone
• Neodymium Magnet
• Super Cardioid Pickup Pattern
• Custom Miktek Transformer by AMI
• Package with Protective Case and Mic Clip
Description
The Miktek PM9 is a super cardioid, dynamic microphone
featuring a custom designed, neodymium capsule element
offering extremely clear and articulate vocal reproduction.
The PM9’s frequency response is full and sweet. Plus, the
capsule’s unique labyrinth design provides ultimate rear
PM9
Super Cardioid Dynamic Microphone
Owner’s Manual
rejection and maximum gain before feedback, so you can
hear more of yourself on stage. With high SPL capabilities
the PM9 can easily accommodate the loudest singers and
can even be used to mic up loud guitar amps, brass and
drums. The PM9’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 ultra sleek, black finish with stainless steel
appointments make the PM9 an attractive complement to
any stage setting.
Understanding Polar Patterns
Perhaps the most important aspect of using your PM9,
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 PM9’s capsule provides a super cardioid polar
pattern with an even tighter response. 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.
