Owners Manual

Introduction
ank you and congratulations on your purchase of
the Miktek PM5 , Performance Series handheld stage
microphone. You work hard to give a better than average
performance, so you demand a better than average
microphone to reproduce the sound of your voice. Miktek
Performance Series handheld microphones offer way
above average sound and build quality impressing the
most discriminating engineers and artists. Featuring
cutting edge capsule designs that are perfectly matched
to Miktek’s proprietary output transformers; the
Performance Series Microphones produce a modern, yet
truly classic sound, well suited to today’s contemporary
performers.
In the following sections of this manual you will find
a description of the PM5’s features, step-by-step set-
up and operating instructions along with detailed
specifications. In addition, we’ve also included some basic
miking fundamentals for typical live sound and recording
applications. To some of us these may seem quite basic.
However, at Miktek we want to encourage young or new
engineers to use our microphones, or at least to read
our manuals and learn something about recording and
live sound. We know you’re serous about your sound
because you purchased an outstanding audio instrument,
and at Miktek, we’re serous about providing superior
products and service to our customers. We appreciate your
patronage and hope you enjoying using your microphones
as much as we enjoy making them.
Sincerely,
Michael Ketchell - Managing Director
PM5 Features
• Studio Quality Handheld Condenser
• MK5a 0.5-inch Cardioid Capsule with 5-micron Mylar,
Evaporated Gold Diaphragm
• AMI T5 Transformer
• Hand-selected Transistors
• Packaged Protective Case and Mic Clip
Description
The Miktek PM5 cardioid, condenser microphone brings
the sound of a high-end studio condenser to vocalists
for live stage use. Sharing the capsule, electronics and
output transformer of the Miktek PM5 small diaphragm
condenser, the PM5 is a truly world-class mic that offers
PM5
Handheld Condenser Microphone
Owner’s Manual
detail and nuance. The PM5’s frequency response is
extremely linear, with rich lows, a present yet sweet
mid-range, and airy highs that please artists and
engineers alike. In fact, the PM5 is perfectly at home in
the recording studio for miking acoustic guitar, piano
and as drum overheads. The PM5 employs a multistage
windscreen to help ensure a minimum amount of
p-popping. The steel grill and die cast body ensure
durability and reliability night after night. An ultra sleek,
black finish with stainless steel appointments make the
PM5 an attractive complement to any stage setting.
Understanding Polar Patterns
Perhaps the most important aspect of using your PM5,
or any other microphone, is to understand its polar pick
up pattern. Every microphone has a characteristic polar
pattern that determines how well it accepts or rejects
signal coming from various areas around the microphone
capsule. There are many types and variations of polar
patterns but the three most common are omnidirectional,
bidirectional or figure-eight and unidirectional or
cardioid. Omnidirectional microphones pick up sound
from everywhere, producing the same frequency response
regardless of where the sound source originates (in front
of the mic, behind it, to the side, etc.). A bidirectional or
figure-eight microphone picks up sound directly from
the front and back while rejecting the sound at the sides.
In contrast, cardioid mics are specifically designed to
accept the sound coming from directly in front, and
to reject sound coming from behind or from the sides.
The PM5’s capsule provides a super cardioid polar
pattern with an even tighter response. While Omni and
Bidirectional microphones are very useful for a variety
of applications, the majority of miking situations in live
sound applications require unidirectional or cardioid
microphones. When positioned correctly, the cardioid
pattern allows you to pick up more of the sound you
want and less of the sound you don’t want. In live sound
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.