General Product Description
The new N/DYM Series of wired microphones are truly setting the standard in performance microphones. EV was the first to use a neodymium-based magnet structure in a microphone and the only manufacturer to offer VOB ( vocal-optimized bass ) technology. With these revolutionary technologies you'll hear every note and every word without the "muddiness" common in other models.
The EV N/DYM mics offer a clear vocal sound that "cuts through the mix" and when used to mic acoustic or electric instruments you'll be amazed at the natural sound. In the studio or on the road these rugged microphones outperform any mic in their class.
The rugged N/D468 was designed for instuments. Its pivoting head insures the perfect placement when mixing horns, drums, acoustic and electric guitar. Even in the highest sound pressure level (SPL) situations the N/D468 provides smooth and accurate response allowing the instrument to sound natural in any live/studio mix.
Designed specifically for horns, drums, acoustical and electric guitars, the N/D468 provides a smooth, natural sound, capturing the excitement of the instrument.The supercardioid pattern provides superior rejection and MICROPHONES acoustic isolation in any application. An innovative EV design harnesses the increased power of a neodymium based magnet design, allowing a large-diameter voice coil (up to 50% larger than other mics) for dynamic, efficient microphone performance. N/DYM offers the power and clarity to "cut through the mix."Whatever your instrument application the N/D468 is sure to be a top performer.
Operation
The low frequency response of the N/D468 microphone varies with the distance from the sound source. Known as "proximity effect," maximum bass response is produced in "close-up" use with the microphone 1/4 inch from the sound source. Normal bass response is experienced with working distances greater than 24 inches.Working close to the microphone will produce a more robust sound. Close up positioning of the microphone will also reduce the potential for feedback from the sound reinforcement system.When close-miced, the bass-boost provides an increase in overall microphone output level.The mixer gain may be proportionately reduced, resulting in a reduction of the system's sensitivity to feedback caused by sound entering the microphone from the loudspeakers.
Microphone Use and Placement
Please note that micing techniques are a matter of personal preference. These are merely guidelines to assist in the placement of the microphone to gain optimal performance.
Electric Guitar and Bass Guitar Amplifier
Place microphone approximately 1-2" from and at a 90° degree angle to the speaker cone. To reduce boominess, move the microphone off axis to the cone from 90° to 45°, or move mic from center of cone to either edge.
Tom-Toms
On double headed Toms place mic over the top of drum 1-3" and at a 45° angle to the drum surface and 1-2" in from the drum edge. On single headed Toms use above method or place mic inside Tom from underneath at a 90° angle from the center of head, 3-5", away.
Snare Drum
Place mic 1-3" above the heads, 1-2" in from the rim. Aim each mic at the top heads angled down about 45°. If the drum rings, tape deadening material to the head or use damping rings. For more "snare" sound place a 2nd mic underneath aimed up at the bottom of head.
Cymbals
Place microphone one to two feet above the top of cymbals.
High-Hat
Place 5 inches above outside edge at a 45° down angle.