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Made in U.S.A.
Earthworks, Inc. • 37 Wilton Rd. • Milford, NH 03055
603-654-6427 • www.earthworksaudio.com
email: sales@earthworksaudio.com • Printed in U.S.A.
PM40T
Piano Microphone System
for Touring
User’s Guide
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Congratulations on your purchase of the innovative Earthworks Touring PianoMic™
System. We know that you will be thrilled with the results you will achieve using the
Touring PianoMic™ System for both live performance and recording.
Items Enclosed with your New Earthworks Touring PianoMic™ System:
PianoMic™ System Model PM40T
2 – PianoMic™ telescoping bars with attached microphone heads
1 – Microphone electronics box
1 – Leather pouch for electronics box
2 – Felt pads with adhesive backing
1 – User’s Manual for PianoMic™ System
1 – Carrying case
USING THE PIANOMIC™ SYSTEM
The majority of those who purchase the PianoMic™ System have experience in
miking pianos with conventional microphones, and may nd the close-miking
techniques described in this Manual to be unconventional. Please keep in mind
that the PianoMic™ System utilizes a number of new technologies and that the
PianoMic™ microphones work and perform much differently than conventional
microphones. The typical practices for piano miking using conventional microphones will most likely not apply when using the PianoMic™ System. With the
PianoMic™ System the rules for miking pianos have changed.
Conventional miking practices suggest that a piano must be miked from outside to achieve a good sound, and that a good piano sound cannot be achieved
with closely placed microphones inside the piano, especially with the lid closed.
When you listen to the incredible results achieved using the PianoMic™ System
(at full-stick, half-stick or lid closed), you will realize how unique and groundbreaking it actually is. As the PianoMic™ System changes many of the conventional rules and methods of miking pianos; we strongly suggest that you start
by following our guidelines rst. Afterwards, if you want to experiment, you can
take it from there.
The Earthworks PianoMic™ System incorporates a number of proprietary
technologies that allow this method of close-miking pianos to achieve results that have previously not been possible. This improved performance
has been accomplished by using specially designed High Denition Microphones created specically to work inside a piano. These are carefully
matched Random Incidence omni microphones with extremely fast impulse
response, very short diaphragm settling time, extended frequency response
(4Hz to 40kHz), near perfect polar response, high current Class A ampliers
and the ability to handle sound pressure levels up to 148dB SPL.
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ASSEMBLING & DISASSEMBLING THE TOURING PIANOMIC
™
The PianoMic™ System is quick and easy to install. Once you have initially set up
the PianoMic™ System you will be able to do it from that point on in just a few
minutes. Here are some helpful guidelines:
CAUTION – the microphone heads and goosenecks are permanently attached to the two PianoMic™ telescoping tubes and cannot be moved, or re-
moved. Once assembled, the distance between the two goosenecks is xed
at 16 inches (one-third of the width of a piano keyboard).
Check that all items are included with your Touring PianoMic™ System by using
the list of “Items Enclosed” on page one of this manual.
TO ASSEMBLE
1. Remove the two PianoMic™ telescoping bars from the case. Notice that on
each of the two telescoping bars, there is a special XLR type connector. There
is a rotating collar next to the special XLR type connector on the telescoping bar
that has a cable coming out of one end, (see Section B in Fig 1-A).
Figure 1-A
Sections A & B of PianoMic
4. Now, take the two PianoMic™ telescoping sections and mate the connectors
just like you would mate a standard XLR connector (see Fig. 1-D). First mate
the keyways and then push the connectors together until you hear a “click.” If
you do not hear a click, then change the position of the rotating collar and try to
mate the two sections again.
Figure 1-D
Mate the two sections
by pushing until you
hear a click.
5. Once you have heard the click when mating the two sections, rotate the collar
until it is rmly positioned against the mating connector cover (nger tight). At
this point two sections should be rmly attached and will not be loose or wiggle.
(Fig. 1-E)
Figure 1-E
Rotate collar all the way to the left
rmly against the left connector body
TO DISASSEMBLE
7. To disassemble the PianoMic, rotate the collar between the XLR connectors
the full distance from its mating half until it is snuggly against the right connector body as shown in Fig. 1-F.
2. Rotate the collar on the XLR connector so it is snug against the connector
cover, but not too tight. (Fig. 1-B)
Figure 1-B
Rotate collar all the way
to the right.
3. Next, rotate the collar two turns in the opposite direction (moving it away from
the connector cover toward the connector pins). (Fig. 1-C)
Figure 1-C
Rotate collar two
turns to the left
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Figure 1-F
Rotate collar all the way
to the right connector body
8. Then grab the two mating connectors (one with each hand) and pull the two
sections apart as shown in Fig. 1-G. Do not pull apart holding onto the telescop-
ing tubes.
Figure 1-G
Separate the two sections
by holding onto each connector body
9. Collapse the telescoping bars and place them in the carrying case along with
the electronics box and leather pouch. Now you’re ready to take your PianoMic™
to the next gig.
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The PianoMic™ System provides the following benets:
• Excellent overall piano sound with uniform level from all strings
• Superb sound with the piano lid up or down
• Tremendous gain before feedback
• Minimal leakage from other instruments surrounding the piano
(with piano lid closed)
• Microphones are not visible from outside the piano
Any recording or live sound engineer will tell you that conventional microphones
do a poor job inside a piano with the lid closed. Sound engineers were amazed
when they heard the exceptional sound quality of the PianoMic™ System used
inside a piano with the lid open and at half-stick. But they were absolutely oored
upon hearing the fantastic performance with the lid closed.
When using a PianoMic™ System for live performance you will achieve the most
gain before feedback with the piano lid fully closed. You will also have the least
amount of leakage from sounds outside the piano with the piano lid closed.
People are astonished when they hear the exceptional sound quality of
the PianoMic™ System with the piano lid closed. Conventional microphones
perform poorly in a piano as the sound inside the piano is coming from every
direction and from multiple sound sources. Every string is a sound source. The
sound board is a large and complex sound source. In addition, sounds are
reected off the piano sides, the sound board and the piano lid multiple times
with little attenuation. Sounds inside a piano are randomly arriving from every
possible direction at similar levels, all at the same time. This is a classic example of a “diffuse sound eld” which is dened as a conned area where there are
multiple sound sources and multiple reections arriving at the microphone from
every angle at similar levels simultaneously. A microphone that is placed in such
a diffuse sound eld has to pickup all of the sound with a proper tonal balance.
For optimum results, this task requires a High Denition Random-Incidence Microphone.
Conventional microphones
are “Free Field” microphones, and regardless
of their pickup pattern are
designed to only pick up
sounds accurately in front
of the microphone (See Fig-
ure 2).
Random-incidence micro-
Figure 2. Conventional “Free Field” Microphones inside a piano
only pick up sound accurately in front of the microphone
phones are designed to uniformly pick up sounds arriving simultaneously from
all angles and directions,
rather than to the sound
coming only from a primary
source that is in front of the
microphone. Random-incidence microphones have exceptional accuracy and tonal
balance in a diffuse sound
eld, where sound arrives
from all directions randomly
Figure 3. Random Incidence Microphones inside a piano pick
up sound accurately from all directions
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and simultaneously (See Figure 3).
We know you will be more than pleased with the performance of the PianoMic™
System for both recording and live sound applications.
SETTING UP THE PIANOMIC
1. With the PianoMic™ assembled,
loosen the two clutches on either
side of the two microphone goosenecks (See Figure 4). When adjust-
ing the clutches, be sure to hold the
larger diameter tube section with
one hand while rotating the clutch
with the other hand as indicated in
gure 4. However, do not loosen the
clutches all the way; just enough so
the bar can be extended and still
have a little friction. This will make
it easier to adjust the length of the
bar from both ends once it is placed
Figure 4. Loosening the Clutches
inside the piano.
2. Extend both sides of the bar so
that it is wider than the piano.
3. Notice that on each end of the
PianoMic™ bar there are support brackets that will be placed on the upper
edge of the piano case sides. These
support brackets have rounded edges
and are covered with a soft Polyolen
coating to avoid scratching the piano.
The support brackets are thin enough
to allow the piano lid to be completely
Figure 5. Support Arms and Installing Felt Pads
closed with the PianoMic™ System inside the piano. The PianoMic™ comes with felt pads installed on the top of each
support arm. If you desire a more snug t with the lid closed or if vibration becomes an issue, install one of the enclosed spare felt pads on the bottom side of
the support brackets as shown in Figure 5.
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Figure 6. Facing the Mic Heads Towards the Dampers
Figure 7. Facing the Mic Heads Away From the Dampers
4. The PianoMic™ can be placed inside the piano with the microphone heads either facing the dampers (Figure 6) or facing away from the dampers (Figure 7). For
optimum results, the PianoMic™ System should be placed in the piano with the microphone heads positioned two to three inches away from the dampers. How you
place the PianoMic™ System in the piano will depend upon the piano, its size and
how it is made. This will govern whether the microphone heads can be faced toward or faced away from the dampers. It is best to position the PianoMic™ System
so that the support bracket does not rest on the curved part of the piano case.
6. Once you have determined which placement will provide you with the
ability to have the microphone heads two to three inches in front of the ity
to have the microphone heads two to three inches in front of the dampers,
you are ready to place the PianoMic™ System inside the piano. With the bar
fully extended and the clutch adjusted where there is still a little friction,
place the support bracket on the edge of the piano case opposite you. Then
push on the bar until the PianoMic™ is the correct length to allow the support bracket to easily rest on the edge of the piano case nearest to you.
Figure 9. Favoring the High Strings Figure 10. Favoring the Low Strings
7. With the PianoMic™ in place, you will need to determine if you want the
microphones to favor the high strings, low strings or neither. The center section of the PianoMic™ can slide up to eight inches in either direction in order
to favor the high or low strings, if desired. This positioning is illustrated in
Figures 9 and 10.
PianoMic multi-conductor
shielded cable that connects to
electronics box via 5-pin XLR.
Figure 8. Positioning the PianoMic Cable
5. Notice that one end of the PianoMic™ has a multi-connector shielded cable
coming out of the tube below the support arm (Figure 8). It doesn’t matter which
side of the piano the cable exits. The main objective is to place the PianoMic™
in the piano so that the microphone heads can be easily placed 2 to 3 inches in
front of the dampers. The cable is long enough to easily reach the opposite side
of the piano should you decide to locate the electronics box on the opposite side
of the piano from where the cable comes out of the PianoMic™. You will need to
position the cable so it does not lie on top of the support arm. The combined
thickness of the support arm with the cable on top if it would exceed the size of
the opening between the piano case and the lid. Therefore when the lid is closed
it would pinch and deform the cable. To avoid this, place the cable to one side
of the support arm. You may also position the cable so it comes out the open
area of the piano as illustrated in Figure 8.
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8. Once you have positioned the PianoMic™ center section, tighten both clutches to insure that the PianoMic™ bar stays in place.
Figure 11. Adjustable ex arms for the Microphones Figure 12. Adjusting the Microphone Height
9. With the PianoMic™ in place, you can move the ex arms attached to the microphone heads several inches to the left or to the right to achieve your desired
placement (See Figure 11).
10. The ex arms also allow you to adjust the height of the microphone heads
as shown in Figure 12. It is suggested that you place the microphone heads two
to three inches above the piano strings.
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11. With the PianoMic™ placed inside the piano and the microphones
properly positioned you are ready to
connect the PianoMic™ cable to the
electronics box via a 5-pin XLR connector. The back of the electronics
box has two XLR-3 connectors that
will connect the microphone outputs to the preamp inputs of your
mixer (See Figure 13).
Figure 13. Front
and Rear of the
Electronics Box
Leather Bag
12. Notice in Figure 14 that
the top of each microphone
head has a number. These
numbers correspond to the
numbers on the rear of the
electronics box. Depending
upon how the PianoMic™ is
placed in the piano the high
strings will be indicated by
either the number 1 or number 2. Once the PianoMic
has been placed, identify the
Figure 14. Corresponding
Numbers on Microphone
Heads and Outputs of
Electronics Box.
microphone numbers on the
mic heads for both the high
and low strings and remember that they correspond to
the numbers on the rear of
the electronics box. This will allow you to correctly identify the microphone
signals for high and low strings that are connected to the preamps of your
mixer. Remember that the PianoMic™ requires 48-volt phantom power.
Figures 15. Placing the Electronics Box
in the Pouch.
Figures 16. Attaching the Pouch
to the Piano Leg.
Leather Pouch Attached to Piano Leg
The enclosed leather pouch has Velcro straps that allow it to be attached to
the leg of a piano. The pouch is open at the top and the bottom has a strap to
prevent the electronics box from falling out of the bottom. There is an opening
at the bottom of the pouch to conveniently attach the two standard XLR-3 microphone cables that go to your mixer preamp inputs (See Figures 15 and 16).
™
Figure 17.
Mounting Electronics Box
on a Microphone Stand
13. There are two ways to mount the electronics box: (1) in a leather
pouch strapped to the leg of the piano, or (2) attached to a short microphone stand. The PianoMic™ System comes equipped to install the
electronics box in either of these two ways.
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Electronics Box Attached to Mic Stand Bracket
The electronics box has a threaded insert in the bottom of the box that will
mate with the threads on a standard microphone stand. By this method,
the electronics box can be mounted to a short mic stand to keep it above
oor level, if desired (see Figure 17).
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Now you should be ready to use the PianoMic™ System and achieve some
impressive sonic results for recording or live performances.
If you have any questions after reading and following the directions in this
manual, please contact Earthworks directly using the contact information
on page 11 of this manual.
Earthworks: the New Science in Microphones
David Blackmer, the brilliant engineer who invented the technologies of dbx, is also the inventor and founder of Earthworks. In the last
few years of his life, David developed a number of revolutionary technologies that dramatically improve the quality and performance of
microphones. In short, Earthworks High Denition Microphones™ will pick up sounds and
details that other microphones cannot. These
dramatic improvements are in the areas of impulse response, diaphragm settling time and
improved polar pattern technologies. Those
who have heard Earthworks High Denition
Microphones™ say that they hear more attack, more subtle detail and a
more pristine quality in the sound than with any other microphones regardless of price. Since David’s death in 2002 the Earthworks engineers have
continued to develop new innovations in microphone design such as the
PianoMic™ System, FlexWand™ and High Denition Drum Microphones.
FIFTEEN-YEAR WARRANTY
The Earthworks PM40T PianoMic™ comes with a fteen-year limited warranty (parts and la-
bor). 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.
PianoMic™ Polar Response
PM40T
Specications
Frequency Response:
Polar Pattern:
Sensitivity:
Power requirements:
Peak Acoustic Output:
Min. Output Load:
Mic Gooseneck Length:
Rod Length Assembled:
Rod Length Separated:
Carrying Case :
Product Weight:
Shipping Dimensions:
Shipping Weight:
9Hz - 40kHz
Omnidirectional
(random incidence)
15mV/Pa (-36 dBV/Pa)
48V Phantom, 10mA
148 dB SPL
XLR-3 (pin 2+)
Output:
600 ohms (pins 2 & 3)
20dBA
Noise:
4.875” (12cm)
64”(160cm) fully extended
46”(115cm) fully collapsed
23”(58.4cm) fully collapsed
24.5”x12.5”x4”
(619x317x100 cm)
6 lbs. (2.7 kg)
26”x18”x8” (66x46x20 cm)
13 lbs. (6 kg)
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Notes:
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