USING THE FOAM WINDSCREEN
SERVICE
(U.S.) Should your Nady microphone require service, please contact the Nady Service Department via phone
at (510) 652- 2411 or e-mail at [email protected]
(INTERNATIONAL) For service, please contact the Nady distributor in your country through the dealer from whom you pur-
chased this product.
Do not attempt to service this unit yourself as it will void your warranty
The FW-1050 foam windscreen is supplied with the TCM
1050. This windscreen fits over the grill portion of the
microphone and is designed primarily to decrease bass
rumble (from wind noise pickup) during outdoor live or
recording use. It is also useful in keeping mouth spray out of
the microphone head. The windscreen should be used
whenever someone is close miked to both protect the
microphone and to also eliminate “popping” sounds from
percussive breath sounds. An external stand mount pop filter,
such as the Nady MPF-6, is also ideal for this application.
(Note: Be aware that the foam windscreen will slightly
attenuate the high frequency response of the microphone.)
(
WARNING:
The capsule is the heart of the condenser
microphone. If it becomes dirty or wet, the sound will be
degraded. Never spray any liquid on the microphone head.
Always use a foam windscreen or pop filter if you talk or sing
close to the microphone grill screen.)
TCM 1050 SPECIFICATIONS
Date of purchase____________________________________Serial # ____________________________________________________________________________
Dealer’s Name ________________________________________________________________________________________________________________________
Street ________________________________________________________________________________________________________________________________
City ______________________________________________State ____________________________Zip ________________________________________________
It is recommended that the TCM 1050 be used with the SSM-
1050 spider shock mount, which uses an elastic suspension to
isolate the microphone from vibration, thereby lowering noise
transmitted to the microphone from the stand. This is a useful
tool in many situations, such as when the performer is
tapping his or her feet, or when there is noise pickup from the
rumbling of traffic outside of the building. The disadvantage
of using the shock mount is that the weight of the microphone
may make it drift in the elastic suspension, so mic placement
may take a little longer.
To insert the TCM 1050 into the SSM-1050 shock mount,
pinch close the levers on the sides of the mount to the open
position, then slide the microphone into place.
02/01
Type
..................................................................................True condenser pressure gradient microphone with 1 in (25 mm) diameter dual
diaphragms and vacuum tube preamplifier
Vacuum tube
....................................................................6072 (selected from 12AT7)
Capsule capacitance
........................................................50 pF
Polar pattern
....................................................................Omnidirectional, cardioid, figure 8, and six intermediate stages (silent switching)
Open circuit sensitivity @1KHz
....................................-36dBV +/-2dBV (0dBV=1V/Pa) for all patterns
Frequency range
..............................................................20 to 20,000 Hz
Rated output impedance
................................................< 200 Ohms
Recommended load impedance
......................................
≥
1000 Ohms
Max. SPL (1% THD @1000Hz)
..................................134 dB
Equivalent noise level (A weighted)
............................
≤
18 dB-A
S/N ratio re 1Pa
......................................................................................74dB
Dynamic range (max SPL to A-weighted noise level)
........................116 dB
Ambient temperature range
....................................................................14˚F to 140˚F (-10 ˚C to +60 ˚C)
Relative humidity range
..........................................................................90% (68˚F, 20 ˚C), 85% (140˚F, 60˚C)
Connector
..................................................................................................7-pin XLR (gold plated)
Mic cable
....................................................................................................7-pin XLR cable (XC-7P), 30 ft (10 m)
Dimensions
................................................................................................Diameter: 2.36 in (60 mm), length: 7.1 in (180 mm)
Net weight
................................................................................................29 oz (800 g)
Power requirement
..................................................................................Dedicated TMPS-2 powering unit (115/230VAC selectable)
TMPS-2 Dimensions and Weight
............................................................2” X 5.5” X 7” (51 X 140 X 178 mm), 3.25 lbs (1.46 Kg)
OPERATION
The TCM 1050 must be powered by the supplied TMPS-2 power supply and amplified by a microphone pre-amp (such as
built into a mixer, or a stand-alone unit).
Specifications and design subject to change without prior notice for improvement purposes
USING THE MICROPHONE SHOCK MOUNT
Set-up
1. Connect the TCM 1050 to the
TMPS-2 power supply with the
XC-7P (7-pin) XLR cable
supplied.
2. Connect the TMPS-2 Audio
Output to your mixer using a
standard balanced 3-pin XLR
microphone cable
(Note: Before
connecting to a mixer directly, turn the
channel to which you’re connecting to
its lowest gain setting, and turn off its
phantom power.)
3. Connect the TMPS-2 to the AC
power supply (first selecting the
proper voltage: 115-230VAC)
4. Turn on the TMPS-2 Power
ON/OFF Switch.
5. Slowly turn up the channel gain
in your mixer to the desired
level.
(Note: Make sure to set the mixer to the
proper gain level – too much gain may
distort subsequent amplifiers and too little
may result in a noisy signal.)
6. Select the polar pattern desired
with the Polar Pattern Select
Switch: omnidirectional,
cardioid, figure 8, or one of six
intermediate stages.
(Note: Experiment with all these choices to
fully utilize the versatility the TCM 1050
can offer for various diverse applications.)
(Note: For optimum performance, it is best
to let the microphone warm up for 5 to 10
minutes so that the internal vacuum tube
can reach its peak specifications.)
Controls and Connections
A. Audio output for connection to a standard
balanced 3-pin XLR cable
B. To microphone (use the supplied 7-pin XLR cable:
XC-7P)
C. IEC AC cord receptacle (with internal fuse), AC
power cable supplied
D. 115/230 VAC select switch. (Note: verify setting
is at the correct voltage supplied or the unit will
be damaged)
E. Power ON/OFF switch
F. 9-pattern polar pattern select switch
F
A
B
E
C
D
TMPS-2
