Marek Design RS1 Owner's Manual

Owner`s Manual

Tube Condenser Microphone System

RS1

M D Marek Design GmbH

Creative Microphone Systems

D - 95152 Selbitz

Uhlandstr.21

Tel.: [phone] – 9720

Fax.: [phone] – 97241

info @ md-mics.com

www.md-mics.com

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Table of Contents

1. The RS1 tube condenser microphone system

2. Adjusting the capsule characteristics and typical applications

3. Configuration of the output

4. Additional information on the circuit design

5. Getting started

6. Disassembly of the microphone

7. Technical specifications

8. Some remarks on microphone maintenance

9. Changing the tube

10. Warranty

1. The RS1 tube condenser microphone system

The RS1 is a variable pattern tube condenser microphone system with adjustable capsule
acoustical settings. With its excellent technical specifications, the RS1's design has been
registered for multiple patents. The all tube transformerless output is line level. There are
adjustable pickup patterns and a gain control. The mic has an ergonomic shape and integrated
shock mount.

With its patented super fast high-resolution 1" metal diaphragmed capsule, the RS1 is exceptional
for music recording as well as radio, TV and film. Because of its unique capsule design and its
unusually low self noise the RS1 is particularly good for vocal recordings and for fine recordings
of instruments.

The front of the microphone is designated by the MD logo. The acoustical characteristic of this
microphone can be adjusted within a wide range by a control ring. It can then be optimized to
adapt the microphone to many different applications. This occurs in a purely acoustic way with
the help of a mechanical mechanism which interacts effectively with the acceptance of the sound
waves. The result is always clean, detailed and an absolutely phase correct signal. The control
ring has six general settings with intermediate positions. The arrow engraved on the microphone
body indicates the selected position.

The control unit features a gain pot to reduce or increase the sensitivity of the capsule by
approximately 27dB. The microphone system is then able to accept sound pressure levels of up to
a maximum 170.3 dB which corresponds to an effective sound pressure of 6546 Pa. There is also
a 15dB attenuator for the amplifier and a 3 step ground lift switch. Normal use would be in the
"Ground" position. If hum occurs, you can select "Off" to cut the circuit ground completely or
take the "Soft" position to cut the DC ground only. The lighted power switch is for switching the
entire system on and off.

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The RS1 is of tube design with no transistors in the signal path. The low impedance
transformerless output circuit is also completely tube. The microphone can be connected to long
cables without affecting the microphone’s performance. The balanced output provides a very
good common mode rejection factor.
The RS1 can supply output levels of more than +33dBu (unloaded) which enables it to pass
extremely high sound pressure levels. Some line inputs could have problems with that much
level. Therefore, you can attenuate output level about 15dB. In order to use the "Headroom" of
the microphone successfully, use the 15dB input attenuator.
Due to the line output a mic pre-amp is not necessary when recording loud sources. With the gain
control in the external control unit one may change the output level to drive recording equipment
or A/D converters correctly.

2. Adjusting the capsule characteristics and typical applications

Being able to adjust the capsule’s acoustical characteristics gives the recording engineer a tool
that facilitates daily work and creates new creative abilities. With the control ring six typical pre­settings and intermediate stages can be used. The acoustical character of the RS1 can be adjusted
within a broad range to give the best sound to an instrument or singer.

Position 1:

The polar pattern is omni. Deep bass and treble are accentuated. This position is recommended
for adding sheen and strength to otherwise boring sounding sources. This setting has worked
nicely for pop piano.

Position 2:

The polar pattern is wide cardioid. There is more bass and treble than flat. Relative to position 1
the effect is of more body. It’s well suited for overheads, percussion or acoustic guitar.

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Position 3:

The polar pattern is cardioid. This is a more natural wounding pickup but with a bit more top end
than flat. There is a typical cardioid proximity effect. This could be particularly good for male
singers.

Position 4:

The polar pattern is cardioid with cardioid typical proximity effect. Frequency response relatively
flat. Well suited for female singers, jazz piano and some brass.

Position 5:

The polar pattern is hyper-cardioid. This position has more mid-range and less treble. This is well
suited for problem cases, such as shrill or thin voices or instruments. Could be good for solo
guitar, blues-harp or bass.

Position 6:

The polar pattern is figure-8. This position has very deep, bulgy mid-range and less treble. This
could be good for electrical bass, xylophone.

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3. Configuration of the output

The RS1 control unit has a balanced 3 pin XLR output. The pin assignment corresponds to DIN
45 599, part "I" and IEC 268-12 (pin.conn. 130-x-IEC 02). Audio is connected to pins 2 and 3;
the ground to pin 1. A sound pressure rise at the membrane causes a positive voltage to appear at
pin 2.

The RS1 is made for the balanced, floating amplifier and mixing console inputs generally in
studio use. Pin 2 is "hot," pin 3 must be connected to ground when used with unbalanced inputs.

The RS1 has an electrical output impedance of about 200 ohms. The input impedance of the
following amplifier should be at least five times as great, therefore 1000 ohms or greater.
The RS1 does not use phantom power. All operating voltages come from its control unit.

4. Additional information on the circuit design

In contrast to other tube microphones, the RS1 uses a very special circuit design. The
transformerless, tube balanced output is 200 Ohm’s impedance. In order to obtain this, the circuit
uses a special "M" tube with very high current capacity, low microphonics and low self noise.
During its entire life, the operating level of the tube is kept stable.

There is a special six conductor cable. It optimizes the different currents used between the
microphone and the control unit which ensures a most accurate amplifier and highest
transmission quality of audio. It must not be replaced by cables which are not appropriate for this
system!

The operating voltages for the microphone are delivered by the control unit using a switching
type regulated output ensuring precise operating voltages.

5. Getting started

The RS1 tube microphone system comes in a case including the microphone with integrated
elastic shock mount with 3/8" thread, the control unit, 10 meters of six conductor microphone
cable and a power cable. A cloth dustover should be used when the microphone is not in use.

Only use control unit with the correct mains voltage!

Do not connect and switch on the mains supply until all other connections have been made!
Within a few minutes after the system is hooked up and turned on, the microphone is warmed up
and ready for use.
When switching the control ring of capsule characters, hand-noise is adapted.
The on/off switch on front of the control unit functions as a primary voltage interrupt for the
feeds from the built-in mains unit.

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