Features
Accessories
Continued on page 3
Pop Filter
The Genesis FET comes with a custom
24k gold-plated pop filter which should
be used any time the microphone
is being used to record vocals. The
pop filter not only eliminates plosives
(those “popping Ps”), it helps collect
condensation from one’s breath and
protects and protects the microphone’s
capsule from moisture in the process.
Condensation on the microphone’s
Contents
Unpack your MXL Genesis FET microphone carefully and verify that all of
the following items are included:
• MXL Genesis FET
• Shockmount
• Pop Filter
• Wooden case
If any of these items are missing or damaged, contact the company from
which you purchased the microphone.
Power Requirement
This microphone requires phantom power at 48 volts, +/- 4 volts. Each
unit has been thoroughly checked before shipping. If you do not hear
sound, check that the phantom power on your preamp, mixer or separate
power supply is switched on!
Care
Dust and foreign material can degrade the performance of a microphone
over time so always store the unit in its case. It is highly recommended to
use the included pop filter when recording vocals.
Recording a Drum Set
Like the piano, capturing the drums can be quite a challenge, if for no other
reason than the fact that you must be very careful to avoid positioning the
microphone(s) where they could be hit! Ideally you’ll want a minimum of two
microphones for this job, though a single microphone can be employed.
Stereo Overhead Pair: Position the two microphones approximately 16 - 20
inches above the performer’s head - separated laterally by roughly 2 - 3 feet and
placed 5 – 6 feet out in front of the drum kit. Adjust the two microphone’s Pan
position so that you achieve a good stereo spread, though generally not hard left
and right. (see Fig. 5A)
Single Overhead Microphone: Position the microphone approximately 16 - 20
inches above the performer’s head - centered in front of the drum set, and
placed 5 - 6 feet out in front. The microphone’s Pan position should be centered
for mono drums. (see Fig. 5B)
For best results, record the drums in as acoustically “dead” a room as you can.
If the room is live, the sharp attack transients of the drum kit will only become
that much more difficult to capture if the room has hard, reflective surfaces - re-
sulting in a muddy sound without any real definition. Further, you should always
record the drums dry and add signal processing after the fact.
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1
Fig. 5A
2-3 Ft. apart
16-20” above performers head
Front View
Fig. 5B
16-20” above performers head
Front View
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