Crown CM-200A Guida utente
131419-1
7/00
Crown International, Inc
P.O. Box 1000, Elkhart, Indiana 46515-1000
(219) 294-8200 Fax (219) 294-8329
www.crownaudio.com
© 2000 Crown International, All rights reserved.
PZM® , PCC®, SASS® and DIFFEROID®,are registered trademarks of
Crown International, Inc. Also exported as Amcron®
2
CROWN MICS FOR LIVE SOUND
CM-200A: Cardioid condenser mic. Sounds much
smoother and clearer than typical stage vocal mics.
Much less EQ is needed to make it sound good. The
CM-200A is stylish and has low handling noise. For
best results, use the included foam pop filter. The
CM-200A also makes a great all-around instrument
mic.
CM-310A: Differoid condenser mic. This mic has
the best gain-before-feedback and isolation of any
handheld mic you can buy. It’s a handheld version
of our popular CM-311A headworn mic. Be sure to
use it with lips touching the grille for best isolation.
The CM-310A also sounds good on snare drum, and
cuts down on leakage from the other drums and the
hi-hat.
HEADWORN MICS
CM-311A: Differoid condenser mic. The industry-
standard headworn mic, used by Garth Brooks,
Britney Spears, and many more. It has the best gain-
before-feedback and isolation of any headworn mic
you can buy. Adjust the headband and boom for
best fit, with the mic touching the lips for best
sound.
CM-311AE: Wireless version of the CM-311A, to
be used with your favorite wireless transmitter.
CM-312A: Hypercardioid condenser mic. For
situations where feedback and isolation are not
too critical. Sounds clear and natural. The mic is
to the side of the singer’s mouth. Adjust the mic
This guide describes Crown microphones suitable
for live music, and suggests how to use them for
best results.
HANDHELD MICS
3
position toward or away from the mouth to pre-
vent breath pops.
CM-312AE: Wireless version of the CM-312A, to
be used with your favorite wireless transmitter.
INSTRUMENT MICS
CM-700: Cardioid condenser mic. Flat response,
accurate sound, 151 dB maximum SPL! Sounds
great on acoustic guitar and piano, drum overheads,
toms, horns, sax. A useful accessory is the CM-
SM shock mount.
Suggested starting positions:
Acoustic guitar: About 8 inches from the 12th fret.
You might want to use the low-cut switch.
Piano: Mike the treble and bass strings with two
mics about 8 inches horizontally from the hammers
and 8 inches above the sound board. Some pianos
sound best with the bass mic toward the piano tail.
Drum overheads: About 2-3 feet over the drummer’s
head, about 2 feet apart. Or, crossed overhead as a
coincident pair.
Tom-toms: About 2 inches above the drum head
and 1-2 inches in from the rim.
Horns: About 1 foot in front. On-axis to the horn
sounds bright; off-axis sounds more mellow.
Sax: Several inches above the bell, aiming at the
tone holes.
4
GLM-100: Mini omni condenser mic. Flat response
from 20 Hz-20 kHz, accurate sound, 148 dB maxi-
mum SPL! Clips onto acoustic guitar, flute, horns,
sax, drums, fiddle, etc.
Suggested starting positions for the GLM-100:
Acoustic guitar: Tape the mic to the guitar body
about ½inch from the low E string, midway be-
tween the sound hole and bridge.
Flute: Tape the mic about 1.5”above the flute, be-
tween the lip plate and tone holes.
Trumpet, trombone: Use the GLM-UM universal
mount supplied with the GLM-100. Clip the mic
about 4”out front, off-center of the horn.
Drums: Use the GLM-UM universal mount supplied
with the GLM-100. Clip the mic to the drummer’s
right side of the snare drum rim, about 4 inches
above the rim. Put another mic in the kick. With
small kits, this single GLM can pick up the whole
drum kit. Boost the lows and highs a little.
Fiddle or violin:
•1”above an f-hole, held by a GLM-UM Universal
Mount clipped to the tailpiece .
•Under the strings, near the bridge, clipped ¼” over
the body .
•Glue some foam onto the mic capsule flex relief.
Insert the mic and the foam through the hole in the
bridge. The GLM mic “floats”between the strings
and the top of the violin.
•For loudest sound and best isolation, place the
GLM inside an f-hole, with the cable wedged into
the narrow part of the f-hole. For cable strain relief,
trap the cable under a rubber band stretched around
the fiddle. This method needs some EQ to sound
natural; try cutting at 100 Hz and 3 kHz.
5
SASS-P MKII: Stereo condenser mic. Excellent for
drum overhead miking. Toms sound deep, full-bod-
ied and close-up. Cymbals sound bright and crisp.
Place the SASS at least 3 feet above the snare drum.
PZM-6D®:Pressure Zone Microphone®. Prevents
phase interference when used on reflective surfaces.
Its tone quality is switchable between natural and
bright.
Suggested starting positions:
Acoustic piano: Tape two PZMs to the underside
of the raised lid, one over the treble strings and
one over the bass strings.
Kick drum: Mount the PZM so the plate faces the
kick-drum pedal inside the drum. Damp the drum
head with a pillow or blanket.
6
PCC-160®:Surface-mounted cardioid microphone.
Terrific in a kick drum –just lay it on a pillow or
blanket inside.
All Crown microphones are condenser mics which
require phantom power.
Altri manuali per CM-200A
4
Questo manuale è adatto per i seguenti modelli
10
Altri manuali Crown Microfono
Crown
Crown CM-700 Manuale utente
Crown
Crown CM-31 Manuale utente
Crown
Crown BF-100 SUX Manuale utente
Crown
Crown PZM-20RMG Manuale utente
Crown
Crown Studio Reference II Manuale utente
Crown
Crown PZM-12SP Manuale
Crown
Crown PZM-11 Manuale utente
Crown
Crown PZM-11 Manuale utente
Crown
Crown SASS Guida utente
Crown
Crown PZM-30R Manuale utente
Crown
Crown CM-700 Manuale utente
Crown
Crown CM-200A Guida utente
Crown
Crown CM-30 Manuale utente
Crown
Crown MINI-BOUNDARY MB-4E Manuale utente
Crown
Crown CM-30 Manuale utente
Crown
Crown CM-30 Guida utente
Crown
Crown Mini-Boundary MB-1 Manuale utente
Crown
Crown CM-312AHS Manuale utente
Crown
Crown PCC-170 Manuale utente
Crown
Crown LM-300A Manuale utente
