Operating the C15
Powering the C15
The C15 is a condenser microphone and therefore needs to be operated by connect-
ing a phantom power supply. Phantom power is standard on most quality mixers,
outboard mic-pres and hard disk recorders. If necessary an external phantom sup-
ply can also be used. The C15 receives the phantom power directly from a mic cable
when connected to a mixer or other microphone input that includes a phantom
supply. The power is actually sent OUT of the microphone INPUT, riding silently along
with the audio signal. (Fairly mysterious, eh?) Most mixers have a switch to engage
the phantom power so be sure to check that the phantom power is on.
Polar Pattern
The most important characteristic of any microphone is its directionality or “pick-up
pattern”. There are three basic categories of pick up patterns; omni, bi and uni-direc-
tional. Omni mics pick up sound from all directions, bi-directional (figure 8) mics pick
up the sound directly in front and back of the microphone while rejecting the sound
on the left and right sides, and uni-directional (cardioid) mics pick up the sound in
front of the microphone.
While omni and bi-directional microphones are very useful for a variety of applica-
tions, the majority of “micing” situations in recording and live sound require uni-
directional or cardioid microphones. The uni-directional nature allows for better
separation of instruments in the studio and more control over feedback in live sound
reinforcement. The C15 condenser’s pick-up pattern is hyper-cardioid, which offers
even more side-to-side rejection. When positioned correctly the hyper-cardioid pick-
up pattern allows you to pick up more of the sound you want and less of the sound
you don’t want.
Microphone Placement
In order to maximize the sound quality, you must pay careful attention to the place-
ment of your C15 and how it is positioned for the instrument or vocalist that you are
micing. All microphones, especially uni-directional or cardioid microphones, exhibit a
phenomenon known as “proximity effect.” Very simply put, proximity effect is a result-
ing change in the frequency response of a microphone based on the position of the
mic capsule relative to the sound source. Specifically, when you point a cardioid mic
directly at the sound source (on axis) you will get the best frequency response, how-
ever when you start pointing the microphone slightly away (off axis) you will notice
the low frequency response dropping off and the microphone will start to sound
thinner.
For most vocal applications you’ll want to position the microphone directly in front of
the artist. The same may be true for micing instruments, however, you
5
C15_ownman.indd 5
6/12/05 6:57:57 PM