All have a high maximum sound level capability, useful if directly above an orchestra. ES The ES hanging microphone is a quad-capsule, steerable microphone that has been designed for huddle rooms or conference rooms whereby capture of audio over a range up to degrees is required. A fixed 1. Two RJ45 sockets on AT allow compatible RJ45 terminated cables to be linked between the box and the included breakout cables.

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Width of pickup is approximately three times the distance to the closest performer. If addi- tional mics are needed for wide sources, they should not be closer together laterally than three times the distance to the front source, to avoid phase cancellation Fig.

To orient in the proper direction, twist the microphone housing slightly in its wire holder clockwise rotation moves the microphone to the right; counterclockwise rotation moves it to the left. The provided AT windscreen simply slips over the head of the microphone, effectively reducing noise from wind or venti- lation air currents. Output is low impedance balanced. The output connector mates with XLRF-type connectors.

The balanced signal appears across Pins 2 and 3, while the ground shield connection is Pin 1. Output is phased so that positive acoustic pressure produces positive voltage at Pin 2 in accordance with industry convention. DC phantom power volts must be applied equally to Pins 2 and 3, with the ground for the power supply connected to Pin 1. This can be provided by a console or mixer with built-in phantom voltage or with the addition of an in-line phantom power supply, such as the recommended Audio-Technica CP If an extension cable is necessary, AT cable or equal should be used.

Regardless of cables used, it is important that both ends of each cable are wired consistently, with the shield always connected to Pin 1 at both ends, Pin 2 connected to Pin 2, and Pin 3 to Pin 3. This will ensure that all microphones are electrically in phase and reduce problems of uneven response and sound cancellation when two microphones are used close to each other. The high sensitivity of the PRO 45 ensures useful output and an excellent match to most mixer, tape recorder and amplifier inputs.

It will provide undistorted output even in sound fields as loud as dB SPL. However, due to the high sensitivity, in some instances it may be possible to overload sensitive input stages.

If distortion occurs, first check for input overload. In such cases, an attenuator such as the Audio-Technica AT may be required between the mic and the electronics input. Also, many mixers provide "input pad" MIC B switches to reduce mic-input signal levels.

Exposure to high temperatures can result in gradual and permanent reduction of the output level. Extremely high humidity should also be avoided. Frequency Response.

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