A Microphone,
Boom and Stand
in a Single Unit
User’s Manual
FW730
FW730/HC
High Definition
Microphone System
Made in U.S.A.
Earthworks, Inc. • 37 Wilton Rd. • Milford, NH 03055
603-654-2433, ext. 114 • www.earthworksaudio.com
email: sales@earthworksaudio.com • Printed in U.S.A.
Guidelines for Positioning FW730 FlexWands on Choir
Earthworks near-perfect polar response may require some elements of your mike
placement to be done differently. Please read the manual to gain a full understanding
of the pick-up characteristics of Earthworks cardioid microphones.
Guidelines for Positioning FW730 FlexWands on Choir
Earthworks near-perfect polar response may require some elements of your mike
placement to be done differently. Please read the manual to gain a full understanding of the pick-up characteristics of Earthworks cardioid microphones.
Microphone Placement
Distance and Height
Place microphones as
close as 3 feet in front
of choir and no lower
than the heads of the
highest singers.
Figure 1 Microphone head
positioned perpendicular to
the oor
Figure 2 Microphone head
positioned at an angle to the
oor
Near-perfect polar response will allow placing the microphones closer to the choir (as
close as 3 feet or even closer). The height of the microphone should be in line with
the head of the highest singer in the choir.
When miking choirs with an
Figure 3
Incorrect - poor
isolation from
the orchestra
orchestra or band in front of
the choir, the microphone
head should be perpendicu-
lar to the oor to provide the
greatest amount of isolation
from the orchestra or band.
Figure 3 shows the way “not
to” position the microphones.
Microphone Placement
Distance and Height
Place microphones as
close as 3 feet in front of
choir and no lower than
the heads of the highest
singers.
Figure 1 Microphone head
positioned perpendicular to
the oor
Figure 2 Microphone head
positioned at an angle to the
oor
Near-perfect polar response will allow placing the microphones closer to the choir (as
close as 3 feet or even closer). The height of the microphone should be in line with
the head of the highest singer in the choir.
When miking choirs with an
Figure 3
Incorrect - poor
isolation from
the orchestra
orchestra or band in front of
the choir, the microphone
head should be perpendicu-
lar to the oor to provide the
greatest amount of isolation
from the orchestra or band.
Figure 3 shows the way “not
to” position the microphones.
Figure 4
Correct - maximum
isolation from the
orchestra
Figure 4 shows the correct
way to position the microphones.
If you do not have an orchestra or band, positioning
the microphones as shown
in Figure 4 will also provide greater isolation from
loudspeakers located behind
the microphone as well as
reduce pick-up of unwanted
sounds from the audience.
Figure 4
Correct - maximum
isolation from the
orchestra
Figure 4 shows the correct
way to position the microphones.
If you do not have an orchestra or band, positioning
the microphones as shown
in Figure 4 will also provide greater isolation from
loudspeakers located behind
the microphone as well as
reduce pick-up of unwanted
sounds from the audience.
Congratulations on your purchase of the innovative Earthworks Flex-
Wand High Denition Microphone System™. We know you will be
thrilled with the results you achieve using the FlexWand™ System for
both live performance and recording.
Enclosed with your Earthworks FW730 FlexWand™ System:
FlexWand™ Models FW730 & FW730/HC with cast iron base, or
FW730TPB & FW730/HC-TPB with tripod base
1 – FlexWand™ stand/wand section *
1 – Microphone windscreen *
1 – Base for stand/wand section (either cast iron metal or tripod
base depending on model) *
1 – User’s Manual for FlexWand™ System
* (If you purchased a matched pair of FlexWands, you will receive two each of the
items indicated above with an asterisk.)
FOR ASSEMBLY INFORMATION SEE PAGES 11-14
Utilizing Earthworks Near-perfect Polar Response
Near-perfect Polar Response
Conventional cardioid microphones typically have poor polar response. They
will have a relatively uniform (i.e. at) frequency response at the front of the
microphone (on-axis or 0 degrees), meaning they will uniformly reproduce
high frequencies, mid frequencies and low frequencies with a uniform level.
However, if you move to either side of the microphone (90 or 270 degrees)
there will be a dramatic loss in high frequency response. Perhaps the most
telling demonstration of this is attempting to place three singers on a single
conventional cardioid microphone (one at the front and the other two singers on the sides). The singers on the sides of the microphone will sound
muddled and undened due to the loss of high frequencies at the sides of
the microphone (off-axis). In gure 1a you will see a perfect cardioid polar
pattern which will pick up all frequencies uniformly at the front and the sides
of the microphone. Figure 1b shows the polar response of a typical conventional cardioid microphone. Notice the severe loss of high frequencies at
the sides of the microphone. Figure 1c is the near-perfect polar response
of an Earthworks microphone. The Earthworks microphone has a uniform
frequency response at the sides of the microphone that is within 3db of the
on-axis response at any frequency.
THE FLEXWAND™ SYSTEM
You have just purchased an Earthworks High Denition Microphone™ that is
incorporated in the FlexWand™System. The FlexWand™ System is a totally
new concept in microphones. It is a combination of a High Denition Microphone™ and a low prole microphone stand and boom as a single unit. It
allows the microphone head to be positioned as high as 7 feet and as low as
1.5 feet from the oor or anywhere in between. Best of all there are no visible
wires or cables above oor level. Visually it is low prole, smooth, sleek and
clean. The FlexWand™ is the ideal solution for applications where the utmost
in sound quality and a low prole is required.
The FlexWand™ is ideal for miking a variety of applications such as large
choir, small vocal ensembles and vocal solos. Now you don’t have to nd
a microphone, attach the mic clip to the stand and then dress the cable
around the stand. Just pick up the FlexWand™, position it and plug the mic
cable into the base. You are done! Best of all it is neat and clean visually
with no unsightly microphone cable wrapped around the stand and boom.
1
(1a) Textbook
Perfect Cardioid
Microphone
(1b) Conventional Cardioid Microphone
Figure 1. Differences Between a Perfect, Conventional and an Earthworks Cardioid Microphone
(1c) Earthworks Cardioid Microphone
The Earthworks cardioid microphones will pick up sounds with nearly the same
delity at the front and the sides of the microphone. This is a remarkable
technical achievement and one that will provide incredible results for you.
2
Conventional Polar Response vs. Near-perfect Polar Response
Before reading this information, if you were asked to spread your arms to indicate the width of the pick-up pattern of a conventional cardioid microphone, you
would probably indicate something like shown in Figure 2a. The actual polar
response of a typical conventional microphone (with full frequency response, i.e.
no loss of high frequencies) is illustrated in Figure 2b. Notice that the shaded
area in Figures 2a and 2b is virtually the same. Outside of the shaded area
there will be a substantial loss of high frequency information.
How Earthworks Near-perfect Polar Response Can Benet You
There are several ways near-perfect polar response can benet you.
1. Use of fewer microphones
2. Ability to place microphones closer to the sound source for more gain
before feedback.
3. No spotlighting or highlighting
4. More rejection of sounds from the rear of the microphone
5. Singers on the sides of the microphone enjoy the same quality as those
in front of the microphone
Fewer Microphones Required
Referring to Figure 2b, notice how narrow the pick-up pattern is on a conventional cardioid microphone. In comparison, notice how much wider the pickup
pattern is on the Earthworks cardioid microphone (Figure 3b). Keep in mind
that the shaded areas in these gures indicate the area where you can obtain
the full frequency response of the microphone without a signicant loss of high
frequencies.
Figure 2a. Typical pick up area (with full frequency
response) of a conventional cardioid microphone
indicated by extending arms
Figure 2b. Typical polar pattern (with full frequency
response) of a conventional cardioid microphone
In contrast, if one were asked to spread their arms to indicate the width of the
pick-up pattern of an Earthworks cardioid microphone, they would indicate
something like shown in Figure 3a. The actual polar response of an Earthworks
cardioid microphone (with full frequency response, i.e. no loss of high frequencies) is illustrated in Figure 3b. Again, notice that the shaded areas in Figures
3a and 3b are virtually the same. Notice on the Earthworks microphone (Figure
3b) that even outside the shaded area there is a very minimal change or loss
in the level of high frequency information.
Figure 3a. Typical pick-up area (with full frequency
response) of an Earthworks cardioid microphone
indicated by extending arms
Figure 3b. Typical polar pattern (with full frequency
response) of an Earthworks cardioid microphone
Conventional microphones (Figure 2b) only provide a narrow window (or area)
in which they can pick up sounds with full frequency response. Figure 4 below,
shows an 80-voice choir miked with conventional microphones. It takes 6 conventional microphones, placed 6 feet in front of the choir, to adequately cover
the choir with the full frequency response of the microphones.
Figure 4. An 80-voice choir miked with 6 conventional microphones at 6 feet
In contrast, the near-perfect polar response of Earthworks cardioid microphones provide a wider pickup pattern (or area) where you can obtain the full
frequency response of the microphones. Figure 5 on the following page, is the
same 80-voice choir is covered using only 3 Earthworks cardioid microphones.
3
4
Figure 5. An 80-voice choir miked with 3 Earthworks microphones at 6 feet
Figure 8 below, shows that it would actually take 12 conventional cardioid mi-
crophones to provide the same coverage as 3 Earthworks cardioid microphones,
when placed 3 feet in front of the choir.
Closer Miking Provides Additional Gain Before Feedback
Seasoned sound engineers know that placing a microphone closer to the sound
source will result in additional gain before feedback. Figure 6 below, shows the
same 80-voice choir miked with 3 Earthworks cardioid microphones, however,
notice that the microphones are placed 3 feet in front of the choir rather than
at 6 feet as indicated in Figures 4 and 5.
Figure 6. An 80-voice choir miked with 3 Earthworks microphones at 3 feet
In contrast, Figure 7 shows the same choir miked with 6 conventional cardioid
microphones placed 3 feet in front of the choir. Notice the blank coverage spots
in the pick-up area. This illustrates that placing conventional microphones 3
feet in front of the choir would require even more microphones to adequately
cover the choir.
Figure 7. An 80-voice choir miked with 6 conventional microphones at 3 feet
5
Figure 8. An 80-voice choir miked with 12 conventional microphones at 3 feet
Three characteristics of Earthworks microphones will provide more gain before
feedback: (1) Smooth off-axis response, (2) picking up far less sound from the rear
of the microphone and (3) wider usable polar-response that allows microphones
to be placed closer to the source. Each of these characteristics will provide more
gain before feedback, however, when you have all 3 it is somewhat remarkable.
The near-perfect polar response provides a smooth off-axis response in addition to
a much wider pick-up pattern with the full frequency response of the microphone.
With a wider pick-up pattern, the microphone can be moved closer to the source
(in this case singers) and obtain even more gain before feedback.
Spotlighting
Conventional microphones typically have problems with highlighting or spotlight-
ing when used on choirs. This is caused by the signicant changes in frequency
response of sounds that are picked up off-axis. This phenomenon will cause singers in a given frequency range to sound louder than others not in that frequency
range. This causes certain singers to stick out above the rest making it difcult
to achieve a good balance between all of the voices in the choir. In contrast, the
uniform off-axis response of Earthworks microphones greatly reduces this phenomenon allowing a uniform balance of choir voices to be achieved much easier.
Rejection of Sounds Behind the Microphone
A textbook perfect cardioid microphone will pick up sounds uniformly at the
front and sides of the microphone. However, the level (in dB) on the sides of
the microphone will be slightly less (as much as 6dB). Even though the level
at the sides of the microphone may be lower, the frequency response should
remain uniform (i.e. no loss of high frequencies). The textbook perfect cardioid
microphone is very dead at the rear of the microphone. The polar response of a
perfect cardioid microphone is shown in Figure 9a. Notice that at 180 degrees
the level is down 30 dB or more.
6
This is what provides the directional characteristics of a cardioid microphone,
in that it will pick up at the front and the sides and picks up far less at the rear,
therefore making the microphone directional. However, this is textbook theory.
This is much different in practice with real (imperfect) microphones used in the
real world.
(9a) Textbook Per fect
Cardioid Microphone
What we have reviewed so far is technical information shown on charts and
graphs. Now lets look at what happens in the actual use and application of these
two types of cardioid microphones. If you were to take the typical conventional
cardioid microphone in your hand and talk into the front of the mic and while
you are talking, rotate the microphone 180 degrees and talk into the rear of the
microphone, you would notice some reduction in the audible level of your voice.
In contrast, if you were to do the same exercise with an Earthworks cardioid
microphone, when you started talking into the rear of the microphone your voice
would be nearly inaudible. This practical demonstration shows how dead the
Earthworks cardioid microphones are at the rear. As a general guideline, you
can consider the coverage area from 90º, 180º to 270º the dead zone of an
Earthworks cardioid microphone as illustrated in Figure 10.
(9b) Conventional Cardioid Microphone
Figure 9. Differences in the Rear Polar Response Between a Perfect,
Conventional and an Earthworks Cardioid Microphone
(9c) Earthworks Cardioid Microphone
Figure 9b shows the polar response of a typical conventional cardioid micro-
phone. Notice at 500Hz, 1kHz and 4kHz the pick-up pattern is almost an omni
pattern, however, these three frequencies are down 10dB in level in reference
to their level at the front of the microphone (0 degrees). In contrast 16kHz and
20kHz are down 15dB at the rear of the microphone. We need to look at one
important fact. Which frequencies are most audible, 500Hz to 4kHz, or 16kHz
to 20kHz? Without question the frequencies between 500Hz and 4kHz are
vastly more audible or predominant than those between 16kHz and 20kHz.
This shows that the typical conventional microphone in Figure 9b will be some-
what less sensitive at the rear of the microphone, but by only about 10dB in the
frequency range between 500Hz and 4kHz.
Looking at the Earthworks cardioid polar response in Figure 9c shows that it
has far more rejection in 500Hz to 4kHz frequency range at the rear, than the
conventional microphone shown in Figure 9b. In Figure 9c, see that 1kHz is
down by 30dB or more, while 500Hz and 4kHz are down 15dB. Also notice that
16kHz and 20kHz are only down 5dB to 10dB. But remember that these high
frequencies are far less audible than those between 500Hz and 4kHz.
7
Figure 10. Rear Polar Response of an Earthworks Cardioid Microphone
When miking choirs with an orchestra or band in front of the choir, the rear
rejection of sounds from an Earthworks cardioid can be a real benet. When
positioning the Earthworks microphone, make sure that the rear of the capsule
is facing the direction of the orchestra or band as shown in Figure 11.
Correct - microphone
head perpendicular
to oor for maximum
isolation from the
orchestra or band
Figure 11. Proper Positioning of an Earthworks Cardioid Microphone
with an Orchestra or Band behind the Microphone
8
Mini-Flex
Incorrect - microphone
head at an angle to oor
causes poor isolation
from the orchestra or
band
Installation and Positioning of the FlexWand
Figure 12. Improper Positioning of an Earthworks Cardioid Microphone
with an Orchestra or Band behind the Microphone
™
Notice in Figure 12 what happens if the rear of the Earthworks cardioid microphone is not positioned toward the orchestra or band.
OBTAINING A GREATER UNDERSTANDING THE FLEXWAND
As you have just read, the near-perfect polar response of the FlexWand provides
you with many advantages over conventional microphones, not to mention the
dramatic increase of delity with a High Denition Microphone™.
You can easily place the FlexWand two or three feet in front of a choir or vocal
group and achieve outstanding results with incredible sound quality and a
substantial increase in gain before feedback. It is suggested that when mik-
ing choirs, that you use a high pass lter (low-cut) on your console and set it
somewhere in the 120Hz range. This will increase your gain before feedback
even more. You can also achieve more gain before feedback by boosting the
FlexWand with EQ at 1.5kHz and 5kHz. If this starts to sound too thin, you can
boost at 500Hz to add some warmth and bottom end. The information in this
manual should provide you with a good basic understanding of the FlexWand
and it’s unique technology. As you continue to use the FlexWand you will nd
additional ways to improve your results in using this unique microphone system.
IDENTIFICATION OF THE CHOIR FLEXWAND™ ELEMENTS
In this manual we will refer to the various elements of the Choir FlexWand
System. In Figure 13 all of the elements of the Choir FlexWand System are
identied. Please review this information:
9
Figure 13
The FW730 Series
FlexWand Elements
Sleeve
Clutch
Stand
0.75” in
Diameter
Microphone
Electronics
Section
Large
Flex
Sleeve
Mating
Coupler
XLR
Connector
Base
12 lb.
30kHz
Microphone head
Wand
0.25” in
Diameter
FW730TPB with
Tripod Base
(image not shown to scale)
FW730 with
Cast Iron Base
10
The FW730 FlexWand™ Comes in Two Versions
The FW730 comes with a 12 lb. cast iron base and
the FW730TPB comes with a collapsible tripod base.
The FW730TPB with a Tripod Base
has a metal sleeve stored
inside the tripod base,
as shown in Fig. 14a
Figure 14a
Loosen the set-screw
and remove the metal
sleeve from inside the
tripod base.
Connecting the Tripod Base to the FW730TPB
Figure 15. Connecting the
tripod base to the FW730TPB
(C)
metal sleeve
To assemble the FW730TPB, first
screw the metal sleeve (C) onto the
threads on the bottom of the FlexWand
(E)
Setscrew
until the metal sleeve is screwed on
tight. Then pick up the FlexWand by
holding the stand section (A) or the
XLR section (B) and insert the metal
(D)
Hole in
Tripod Base
sleeve into the hole on the tripod base
(D). Push the sleeve all the way down
and then tighten the setscrew (E).
Connecting the Cast Iron Base to the FW730
(A)
FlexWand
Stand Sec-
tion
(B)
XLR
Section
Remove the metal sleeve
from inside the tripod base
as shown in Fig. 14b
Figure 14b
Figure 16. Connecting the
cast iron base to the FW730
(C)
Hole in
Cast Iron
Base
(A)
FlexWand
Stand Section
(B)
XLR
Section
When screwing the FW730 in
the cast iron base, rst place
the cast iron base on the oor.
Then, by holding the stand
section (A), carefully rotate the
FlexWand into the threaded
hole (C) in the cast iron base
(at least 2 full turns). Next,
wrap your hand around the XLR
connector section (B), pick up
the combined FlexWand and
base, then spin the base until
it is snug. Do not over tighten.
Be careful that the microphone
head does not bang into something during this process.
1211
USING THE FLEXWAND™ AT MAXIMUM HEIGHT
When using the FlexWand™ for large choirs or vocal groups,
you would probably want to have the FlexWand at its maximum height of 7 feet.
This is easily achieved by pointing the wand straight up and
then loosen the clutch and slide the sleeve up until it mates
into the “sleeve mating coupler.” Make sure it is all the way
up and firmly seated over the mating coupler (see Figure 17).
This will insure that the FlexWand is perfectly straight up and
down from all directions. Then position the microphone head
to any position that
you desire with the
mini-flex at the end
of the wand (see Fig-
ure 18).
Figure 18. Positioning
Figure 17. Seating the Sleeve
over the Mating Coupler
the Microphone Head
with the FlexWand at
Maximum Height
Figure 20.
Figure 21.
When using the “boom mode,” the clutch should be loosened and the
sleeve should be slid down so it only covers about half of the large flex,
then tighten the clutch. By doing this, the flex section will be much more
rigid than if the sleeve were slid all the way down.
You might want to experience this for yourself by first loosening the clutch
and sliding the sleeve all the way down (tighten the clutch) and then posi-
tion the wand at a 45 degree angle (see Figure 22a). Now position the
wand at several angles greater and less than 45 degrees and see how it
feels.
22-a 22-b 22-c
Figure 19. Miking a Large Choir with
the FlexWands at Maximum Height
USING THE FLEXWAND™ AS A BOOM
In the “boom mode” the FlexWand™ can mike anything just like a conventional microphone on a boom stand. This can be used when you want the
FlexWand microphone lower for such applications as small vocal groups or
vocal solos. (see Figures 20 & 21).
Figure 22-a. Sleeve all the way down
22-b, Sleeve half-way up
22-c Sleeve three-fourths of the way up
Figure 23. Using the
Wand as a boom.
1413
Then loosen the clutch again and cover only half of the large flex then
tighten the clutch (see Figure 22b). Now position the wand at several
angles at greater and less than 45 degrees to see how much more rigid
the large flex is (see Figure 23).
FW730 FLEXWAND™ SPECIFICATIONS
FW730 (Cardioid) & FW730/HC (Hypercardioid) with cast iron base
FW730TPB (Cardioid) & FW730/HC-TPB (Hypercardioid) with tripod base
The large flex can be made even more rigid by sliding the sleeve up to
cover three-fourths of the large flex (see Figure 22c). These adjustments
are ideal when you want to position the wand at any position between
straight up to a 90 degree angle. If you want to go more than 90 degrees,
you will need to re-position the sleeve to uncover more, or all of the large
flex, thereby allowing it to be positioned between 90 degrees to nearly
180 degrees.
The large flex can be made even more rigid by sliding the sleeve up to
cover three-fourths of the large flex (see Figure 22c). These adjustments
are ideal when you want to position the wand at any position between
straight up to a 90 degree angle. If you want to go more than 90 degrees,
you will need to re-position the sleeve to uncover more, or all of the large
flex, thereby allowing it to be positioned between 90 degrees to nearly
180 degrees.
The highly versatile FlexWand™ High Definition Microphone System is a
uniquely creative tool that will provide outstanding sonic results for virtu-
ally any recording or live sound application. It’s low profile with no visible
wires above floor level provides a clean sleek look that will not visually
impair or detract from the musical or theatrical performance. The quality
construction of the FlexWand™ will provide you with years of exceptional
service. If you have any questions, please contact Earthworks Customer
Service Department at 603-654-6427, ext. 119.
FW430 Frequency Response: 50Hz to 30kHz
FW430/HC Frequency Response: 100Hz to 30kHz
Polar Pattern: Cardioid or Hypercardioid
Sensitivity: 10mV/Pa (-40dBV/Pa) (Cardioid); 20mV/Pa (-34dBV/Pa) (Hypercardioid)
Power requirements: 24-48V Phantom, 10mA
Max Acoustic Input: 145dB SPL (Cardioid); 139dB SPL (Hypercardioid)
Output Connector: Female XLR-3 (pin 2+)
Min Output Load: 600 ohms between pins 2 & 3
Noise: 20dB SPL (Cardioid); 16dB SPL (Hypercardioid)
Positioning Range: From 1.5 ft. (.46m) to 6.5 ft. (1.98m) above oor level
Dimensions: Stand 7 ft. 2 in.” long (1.32m), Cast Iron Base 12” (30.48cm) in diam-
eter, 1.1” (2.7cm) high; Tripod Base 23” (0.58m) footprint, 6” (15.2cm) high
Color: Stand, ex & wand - black; cast iron base - dark gray; tripod base - black
Unit Weights: Stand 2 lbs. (.9 kg), Cast Iron Base 12.6 lbs. (5.7kg), Tripod Base 1.6
lbs. (0.73kg)
FW730/C
Polar Pattern
FW730/HC
Polar Pattern
FIFTEEN-YEAR WARRANTY
All Earthworks® products (excluding accessories) carry a fifteen-year limited
warranty (parts and labor). If you have any problems with your Earthworks
products, please contact our warranty/repair department by email at:
returns@earthworksaudio.com or by telephone at (603) 654-2433, ext 119.
15
FW730/C, FW730/HC Impulse Response
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