Apex APEX415 User Manual

www.apexelectronics.com

Distributed in U.S.A. by Yorkville Sound Inc., 4625 Witmer Industrial Estate Niagara Falls, New York, 14305 - phone : [phone] fax : [phone]

Distributed in Canada by Yorkville Sound Ltd., 550 Granite Court, Pickering, Ontario L1W-3Y8 - phone : [phone] fax : [phone]

The Apex415 Microphone:

The Apex415 multi-pattern wide diaphragm condenser microphone is one
of the most versatile microphones available for your studio toolkit. Three
selectable polar patterns, low frequency roll-off and -10dB pad switch on
the body of the microphone ensure the Apex415 can easily be applied to
virtually any live or recording application.

While the Apex415 can easily be used as an overhead mic for drum kits,
for guitar or bass cabinets or anywhere superior sound quality and high
sound pressure handling is required, it is the microphone of choice for solo
vocals, saxophones, flutes, brass or woodwinds, acoustic guitars or
acoustic bass where subtlety and clarity is paramount.

Due to its rugged construction and ability to handle high SPL, the Apex415
is an outstanding choice for live sound reinforcement or live recording
applications.

Controls on the microphone itself include a -10 dB pad switch, allowing
distortion-free reproduction of extremely loud at-source signals, and a low
frequency roll off switch that reduces unnecessary low end 'boominess' and low
frequency interference. The included external shock-mount suspension virtually
eliminates vibration and handling noise, while at the same time safely securing the
microphone in any position needed during the recording process.

Multiple Polar Patterns:

A Cardioid polar pattern is the standard setting for almost all applications and will
deliver the best results on vocals and a wide range of instruments. It offers full
frequency response off of the front of the microphone and excellent noise rejection
from the sides and back, or 180' position of the microphone. The cardioid pattern
also delivers the most pronounced ‘proximity effect’ or increased low fre­quency response when microphone is placed close to sound source.*

The cardioid pattern is ideal for single instrument or vocal use. The pattern
picks up only sound directly in front of the mic and sound emanating from any other
direction is rejected. Note: The cardioid symbol on the microphone housing denotes
the 'live side', or front face of the microphone that in all cases should face the performer

.

*Vocalists can use the proximity effect to their advantage, adding fullness
and more 'bottom end' to the voice. Experienced vocalists can easily
incorporate it as part of their overall microphone technique. Again,
experimentation with mic placement during the recording process is the
key. The omnidirectional polar pattern does not exhibit this effect.

The Omnidirectional polar pattern picks up sound equally from all around
the microphone. This is mostly used for recording ambient sounds, or
when recording in an exceptionally good sounding live room where the
character, ambiance and tone of the studio needs to be recorded, as well

as the source voice or instrument. It would also be the ideal choice for
picking up audience interaction in a live recording situation.

The Bi-directional or Figure-8 polar pattern will hear sound from both front
and back. This is ideal for recording a solo vocal or instrument with limited proximity
effect, better off-axis rejection (limited interference from the sides of the microphone)
while still picking up room ambience or natural reverberation from behind the micro­phone. It also can be used for or duet vocals or for recording harmony vocals with
two vocalists.

Low Frequency Roll Off:

In virtually all recording and live sound applications, the low frequency roll­off should be engaged to reduce handling noise and low frequency 'rumble'
at source. It is a generally accepted practice use the low frequency roll off
on all vocal applications and when recording solo instruments.

Care and Feeding of your Apex415:

All wide diaphragm condenser microphones are fragile. They do not like to
be exposed to any sharp impact that may stretch or knock the element out
of alignment including being dropped, tapped, or being blown into.

It is always advisable to use a pop filter when recording vocals not only to
avoid overly accentuated 'S', ‘P’ and ‘B’ sounds, but also to keep excessive moisture
off the element. It is always a good idea that the microphone is kept in its case when
not in use.

Connect the microphone to your mixer or recording device with a high quality
XLR cable before turning on the phantom power source. It is always a good
idea to make sure all volume and gain controls on your mixer or mic preamp
are set to their minimum levels when powering up the microphone.

Once the Apex415 is plugged in and powered up, you should gradually
bring the mixer's channel fader up and properly set the input gain on the
mic's channel and stop just before the signal peaks. It is never a good idea
to unplug a phantom powered condenser microphone like the Apex415
from its power source with the gain and volume controls open.

The outer shell of your mic can be cleaned with a soft damp cloth. Do not
use harsh detergents, solvents, or abrasive materials. Never immerse any
microphone in water.

Suggested Accessories:

 Apex MWS-56DLX 6-inch studio pop filter
 Apex MS-700B Studio microphone Stand
 Apex APP2 Phantom Power Supply

Type
Polar Pattern(s)

Frequency Response

Sensitivity
Impedance
S/N Ratio
Max SPL
Equivalent Noise

Power Requirement

Controls
Dimensions

Weight

Wide Diaphragm Condenser Microphone

Cardioid, Omnidirectional and Figure-8

20 - 20000 Hz

15mv/Pa = -36dB (0dB = 1v/Pa) -10dB

<200 Ohms

>73dB

(For .05% THD @ 1000Hz) 130dB

(IEC 268 - 4 - A weighted) 17dB

Phantom Power

Low Frequency Roll-off, -10dB Pad
2 inches x 6.5 inches (5mm x 165mm)

16.6oz (470g)

Apex415 Specifications:

Apex415 Multi-Pattern Wide Diaphragm Studio Condenser Microphone