Owners Manual

PM10 Specifications
Type ................ Dynamic
Polar Pattern: ........ Super
Cardioid
Frequency Response: .. 50Hz -
16KHz
Impedance: .......... 300 Ohms
Length: ............. 5.85 inches
Width: .............. 2.3 inches
Depth: .............. 2.3 inches
NetWeight: .......... 0.65 pounds
Specifications subject to change.
situations, the polar pattern greatly determines how
prone a particular microphone is to inducing feedback.
Feedback is that nasty howling sound that occurs when
a mic is placed too close to a loudspeaker—the signal
from the loudspeaker is fed into the mic, then into the
loudspeaker, then into the mic, over and over. The super
cardioid pick-up pattern allows for better separation of
instruments on stage and more control over feedback in
live sound reinforcement.
Mounting the PM10
The PM10 can be mounted to any standard microphone
stand using the included mic stand holder. If you are
using a US standard 5/8-inch mic stand, remove the Euro
adapter by unscrewing it from the mic holder. Loosen the
thumb screw and slide the microphone into the holder,
then re-tighten the thumb screw. You can attached the
PM10 to a standard drum rim using the LRM100. Push
the lever down and loosen the thumbscrew. With the
lever down, tighten the thumbscrew a bit to size to the
rim, then push the lever up. Take care not to overtighten.
If necessary, repeat the previous step.
Microphone Placement
To help maximize the quality of your performance, you
must pay careful attention to the placement of your
PM10, and specifically, how it is positioned for the
instrumentthatyou’remiking.Asyoubecomemore
experienced in miking techniques, you’ll quickly realize
the microphone placement is critical to getting the sound
you want while maximizing gain before feedback. When
placing the mic around any instrument or sound source,
take notice of the position of the front of house and
monitor loudspeakers. In general, it’s good practice to
set the microphone behind the main or front of house
PAspeakerstoavoidfeedbackfromthosespeakers.Also,
be conscious of nearby monitor loudspeakers to avoid
feedback on stage. When using the PM10 on snare or
toms, the microphone can be placed on top the drum,
with the capsule pointed straight on or at an angle with
the drumhead. You can place a second PM10 under the
tom for more sustain or under the snare if you want to
hear more of the snares. When miking drums, it is good
practice to position the PM10 so that it’s pointing at the
area that’s at a distance of about 1/3rd of the drum’s
diameter from the inside of the rim. From there the
microphone can be positioned to taste.
Setting Up the Signal Level
In order to get a good signal, first be sure that the
PM10 is connected to a mixer or recorder input that is
microphone level. Most quality mixers, mic pre’s and
recorders provide microphone inputs with a mic trim
(“Trim”AKAMicGainorLevel)control.Thepurpose
of the mic trim control is to set a good signal level and
minimize any noise associated with the mic inputs’
electronics.AgoodmicprewillalsohaveaCliporPeak
LED to show you when the input is at overload; the level
which distortion begins to occur. To set a good clean
level, set the PM10 up in front of the desired sound
source and slowly turn up the mic trim until you see the
ClipLEDlightup.Then,turnthetrimcontroldownuntil
the LED does not light any more. On most microphone
inputs, the best setting is when the trim control is turned
upashighaspossiblewithoutlightingthePEAKLED.
The Proximity Effect
Allcardioidoruni-directionalmicrophonesexhibita
phenomenon known as “proximity effect”. The proximity
effect is the increase in low frequency response a
microphone exhibits as it is moved closer to the sound
source. Vocalists tend to love this effect since when they
get really close to the mic they get the “FM radio”, big bass
sound. Just as on a vocal, you can use the proximity effect
to adjust their tonal response of the bass drum you’re
miking. The key to developing the best mic technique is
experimentation, along with awareness of the general
principle that, the closer your PM10 is to a signal source,
the greater the bass response. The proximity effect’s bass
lift is caused by the amount of pressure present at the
ports that are used to create the directional pattern. Since
omnidirectional microphones do not have ports, they do
not have proximity effect.
PM10 Polar Pattern