Technical Specifications:
Element: Dynamic N/DYM® magnet structure
Freq. Response, Close: 45 Hz - 15,000 Hz
Freq. Response, Far: 100 Hz - 15,000 Hz
Polar Pattern: Cardioid
Sensitivity, Open Circuit
Voltage @ 1 kHz:
2.9 mV/pascal
Polarity: Pin 2 positive, ref. pin 3 with positive
pressure on diaphragm
Impedance: 600 ohms balanced (low-z)
Microphone Connector: 3-pin, XLR-type
Finish: Non-reflecting black
Materials: Memraflex™ grille screen
Warm Grip™ handle
Accessories Included: Stand Adapter (Black)
Soft Zippered Gig Bag
Dimensions, Length:
Diameter:
Shank:
6.7 (170 mm)
1.6 (41 mm)
0.80 (20 mm)
Net Weight: 8.7 oz (247 g)
Shipping Weight: 18.6 oz (545 g)
General Description:
N/D478
N/DYM® Dynamic Cardioid
Instrumental Microphone
Key Features:
• VOBTM technology provides tailored bass
response for controlled “proximity effect” and
exceptional vocal clarity
• Cardioid pattern for superior feedback rejection
and acoustic isolation
• Excellent choice for micing acoustical or
electrical instruments whether in a live sound
or studio environment
• Neodymium based magnet structure provides
greater sensitivity and signal-to-noise
ratio
• Warm GripTM handle for more comfortable feel
and lower handling noise
The N/D478’s acoustic response presents optimal
performance in both a live sound or studio environment.The
new “vocally optimized bass” or VOB™ technology provides
the instrumentalist with reduced resonant distortion at low
frequencies. Critical damping of the low frequency resonant
peak has resulted in a microphone that replaces the
“muddiness” found in competitive models with greater
warmth and increased clarity. The result is a exceptional
performing instrument microphone with clean, clear,
consistent sound that “cuts through the mix.”
Operation
The low frequency response of the N/D478 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.
12000 Portland Avenue South, Burnsville, MN 55337
Phone: 952/884-4051, Fax: 952/884-0043
www.electrovoice.com
© Telex Communications, Inc. 5/2007
Part Number 38109-826 Rev. D
Frequency Response: Polar Response: (5 dB per division)
1000 Hz
U.S.A. and Canada only. For customer orders, contact Customer Service at:
800/392-3497 Fax: 800/955-6831
Europe, Africa, and Middle East only. For customer orders, contact Customer Service at:
+ 49 9421-706 0 Fax: + 49 9421-706 265
Other International locations. For customer orders, contact Customer Service at:
+ 1 952 884-4051 Fax: + 1 952 736-4212
For warranty repair or service information, contact the Service Repair department at:
800/553-5992 or 402/467-5321
For technical assistance, contact Technical Support at:
800/392-3497 or 952/736-4656
Specifications subject to change without notice.
N/D478 Part Number: 16043312
Instrumental Microphone Standard Placement amp; Use Guidelines
1. Always point the microphone at the desired source of sound, and away from any unwanted sources.
2.The microphone should be located close to the sound source to minimize interference from other potential sound sources.
3. Use the 3-to-1 rule when using multiple microphones. Place each microphone three times farther from other microphones as from the
desired sound source.
4. Minimize over-handling of the microphone to reduce unwanted mechanical noise.
5.Working close to the microphone will increase the bass tone and also provide increased gain-before-feedback.
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.
Usage Optimal Placement
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.
Brass 6-24 away, and on axis with the bell of the instrument.
Acoustic Guitar Place mic 6-12 from where finger board joins the body.
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