Sennheiser MKH 800 TWIN NI Users Manual

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Page 1

MKH 800 TWIN

Instruct

ions for use

Page 2

Contents

MKH 800 TWIN ........................................................................... 2

Delivery includes ....................................................................... 3

Putting the m

Connecting t

Aligning the microphone ................................................... 4

Function monitoring ........................................................... 4

Mounting the micropho

Attaching the windshield .................................................. 5

Remote adjustment of the pick-up patterns ................. 5

Surround applications ........................................................ 7

Care and maintenance .............................................................. 8

Accessories and spare parts .................................................... 8

Specifications ............................................................................ 9

Polar diagram and frequency response curve ............ 10

icrophone into operation ................................ 4

he microphone .............................................. 4

ne to a stand ............................. 4

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MKH 800 TWIN

The MKH 800 TWIN is a universal studio condenser microphone of exceptional quality. It includes a dual capsule consisting of two symmetrical push-pull transducers with high linearity. This is a “side fire” microphone with the two cardioid pick-up patterns of the transducer aligned back-to-back across the axis of the microphone.

The MKH 800 TWIN is based on the MKH 800. However, the signals of both transducers are not combined in the microphone in order to generate differing pick-up patterns but are available separately as two channels at the microphone output. This allows the pick-up patterns of the MKH 800 TWIN to be remotely adjusted. The signals can be combined in any desired way in the mixing console in order to create all pick-up patterns from omni-directional to figure-8 with an infinite number of intermediate stages.

y The remote adjustability and the variable pick-up

patterns make the MKH 800 TWIN a universal main microphone, soloist microphone or supporting microphone.

y The pick-up patterns can be set and optimised under

monitoring conditions. In other words, it is not necessary to fix the pick-up patterns definitively before recording.

y A wide range of mixes for stereo and surround are

possible (including in parallel).

y The saving of the microphone signals in two channels

also allows an unlimited range of mixes to be realised at a later date.

y The high sensitivity ensures interference-free signal

paths as a result of high signal levels. The inherent noise of downstream microphone amplifiers is thus of minor importance.

y The very low inherent noise prevents the masking of

filigree sound structures. The depth of the acoustic can be heard more clearly too.

y The high linearity of the transducers minimises the

signal distortions and ensures the transparency of the sound even at high sound levels.

y The frequency response extends to 50 kHz, thus

improving the resolution for complex acoustic details.

y Stable pick-up patterns minimise sound distortion in the

direct and diffuse field.

y Negative acoustic effects caused by the housing and the

sound inlet basket are minimised.

y The small, slim design and the optionally dark housing

design (Nextel) make it visually unobtrusive.

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Delivery includes

y 1 MKH 800 TWIN studio condenser microphone y 1MZS80 shock mount y 1 AC 20 adaptor cable

(1 x XLR-5 socket to 2 x XLR-3 connector)

y 1 MZQ 80 microphone clamp y 1 Aluminium transport case y 2 supplementary sheets with the front and rear

frequency response curves

y Instructions for use:

–MKH800TWIN –MZS 80 shock mount



쐋

 Sound inlet basket  LED Front (blue)  LED Rear (red)  XLR-5 connector of the microphone  AC 20 adaptor cable







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Putting the microphone into operation

Connecting the microphone

The MKH 800 TWIN has been designed for a 48 ± 4 V phantom powering according to IEC 61938.

To power the microphone:

왘 Connect the XLR-5 socket of the adaptor cable  to the

XLR-5 connector  of the microphone.

왘 Connect the two XLR-3 connectors of the adaptor cable

 to the corresponding sockets of your mixing console.

왘 Switch on the phantom powering on your mixing

nsole.

The LEDs  and  on the microphone light up.

Aligning the microphone

The front of the microphone is marked by the word “Front” and a blue LED  whereas the rear is marked by a red LED . The LEDs can be used for aligning the microphone. On-axis alignment is indicated by maximum brightness.

Function monitoring

The two LEDs Front  and Rear  indicate operational readiness separately for both channels. The LEDs go off if the supply voltage drops below 42 V.

Mounting the microphone to a stand

The supplied MZS 80 shock mount allows the MKH 800 TWIN to be mounted to a stand and effectively protects against structure-borne noise.

To mount the microphone to a stand:

왘 Select the suitable mounting thread:

– Without thread insert: 5/8" thread – With thread insert: 3/8" thread



왘 Screw the shock mount  to a stand.

왘 Pass the cable through the cable grip

as shown.

왘 Place the microphone into the shock

mount  as shown.

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Attaching the windshield

Pop noises resulting from close miking can be suppressed effectively using the optional MZW 80-ANT windshield or the optional MZP 40 popperstopper (see “Accessories and spare parts” on page 9).

To attach the windshield:

왘 Slide on the windshield onto the sound inlet basket .

To attach the popperstopper:

왘 Attach the gooseneck of the popperstopper to the stand.

The popperstopper changes the sound only slightly.

Remote adjustment of the pick-up patterns

The two signals of the MKH 800 TWIN allow the remote adjustment of the pick-up patterns at the mixing console.

The two microphone signals (front and rear) are routed to separate channels and summed together. The sum signal is then distributed over the stereo channels as usual using the pan control.

왘 The pan control of both channels has to be aligned

identically for correct operation.

Pick-up pattern Setting

Omni-directional 왘 Set the amplification to the same

value in both channels.

Wide cardioid* 왘 Set the amplification in the rear

channel lower than in the front channel.

Cardioid 왘 Activate the front channel only.

15 30 40

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Pick-up pattern Setting

Figure-8 왘 Set the amplification to the same

value in both channels.

왘 Invert the phase of the rear

channel.

Phase

Super-cardioid** 왘 Set the amplification in the rear

channel lower than in the front channel.

15 30

왘 Invert the phase of the rear

channel.

Phase

*Wide cardioid: Pattern between omni-directional and cardioid

The wide cardioid pattern of the MKH 800 is, for example, the result if the rear channel has 10 dB less amplification than the front channel. The pick-up pattern becomes more omni-directional at higher amplification and more cardioid at lower amplification. At the same time, the rear attenuation (180° attenuation) of the microphone changes. It is the direct result of the amplification ratio between the front and the rear channel, i.e. 10 dB in the example of the wide cardioid patter

**Super-cardioid: Pattern between cardioid and figure-8

The super-cardioid pattern of the MKH 800 is, for example, the result if the amplification of the rear channel is 10 dB lower than that of the front channel and if the phase of the rear channel is inverted. At higher amplification, the pick-up pattern tends towards the figure-8 pattern, otherwise the pattern becomes more cardioid. The cancellation angle at which the microphone is especially insensitive also changes. It is 180° in the case of the cardioid pattern, 120° for the super-cardioid pattern and 90° for the figure-8 pattern. If the MKH 800 TWIN is used as a supporting microphone, the attenuation between different groups of instruments in an orchestra can for example be optimised in this way. Here, too, the rear attenuation is the result of the amplification ratio between the front and the rear channel, i.e. 10 dB in the case of the super-cardioid pattern.

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Changing the pick-up pattern

There are two different ways of changing the pick-up pattern of the microphone.

If the microphone level has to be changed infrequently:

왘 At the mixing console, set the preamplification to the

same value in both channels.

왘 Vary the pick-up pattern by using the level control and

the phase switch of the rear channel. The level control of the front channel stays in the same position.

If the microphone level has to be changed frequently:

왘 At the mixing console, set the level controls to the same

value and couple them mechanically or electrically.

왘 Change the pick-up pattern by using the pre-set gain

control and the phase switch of the rear channel.

Surround applications

As a result of the symmetry of possible to create any desired rear pick-up pattern. For this purpose the microphone signals are additionally routed to two other channels, whereby front and rear channel exchange roles. The settings are then made in the same way as described above and the rear pick-up patterns can be freely selected. Both pick-up patterns are then available simultaneously, for example for a surround front channel and a surround rear channel. With two MKH 800 TWIN, four surround channels can be created in this way. If only the cardioid pick-up pattern is required for the front and rear channels, the microphone signals can also be used directly. This minimises the necessary effort.

With an MKH 800 TWIN and a figure-8 microphone (e.g. MKH 30) full surround-sound recording using the double MS technique (MSM) can be done. As is common with the MS technique, the figure-8 microphone is positioned above the MKH 800 TWIN and directed to the left. The front and rear left and right surround channels are produced by matrixing the figure-8 signal and the front and rear signals of the MKH 800 TWIN. By combining the front and rear signals of the MKH 800 TWIN, a centre channel with any pick-up pattern can be achieved and even a centre rear channel is possible if required. In spite of the wide range of options, postproduction still only requires the original microphone signals to be saved, i.e. only three signals for five or six surround channels.

the microphone, it is also

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Care and maintenance

CAUTION! Liquids can damage the microphone!

Liquids entering the microphone can cause a short-circuit in the electronics and damage the microphone capsule.

왘 Do not use any solvents or cleansing

agents.

왘 Use a soft, slightly damp cloth to clean the microphone

from time to time.

Accessories and spare parts

Cat. No. Accessory/Spare part 003132 MZP 40 popperstopper 003780 MZW 80-ANT foam windshield 003685 MZS 80 shock mount 050174 MZQ 80 microphone clamp 006595 AC 20 adaptor cable

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Spe

cifications

Short description

Pick-up pattern Frequency response Sensitivity (no load) at 1000 Hz

Output impedance at 1000 Hz Max. SPL at 1000 Hz Max. output voltage Min. load impedance Equivalent noise level

Noise voltage

Dynamic range

Power supply Supply voltage Supply current Connector Connector assignment

Dual diaphragm RF condenser microphone with separate outputs for both capsules

2 x cardioid 30–50,000 Hz

40 mV/Pa (–28 dBV) ±1 dB

100 Ω 134 dB (100 Pa) 4 V 2 kΩ 12 dB (A-weighted)

20 dB (CCIR-weighted) 3 μV (A-weighted)

8 μV (CCIR-weighted) 122 dB (A-weighted)

114 dB (CCIR-weighted) P48 phantom powering 48 ± 4 V 2x3.1mA XLR-5M

Dimensions Weight Storage temperature range

1: Ground/housing 2: Front channel: (+) 3: Front channel: (–) 4: Rear channel: (+) 5: Rear channel: (–)

∅ 27 mm x 136 mm

172 g

–20 °C to +70 °C

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Polar diagram and frequency response curve

Polar diagram

0°

30°

60°

90°

30°

60°

90°

150°

120°

4000 Hz

8000 Hz 16000 Hz 32000 Hz

125 Hz 250 Hz 500 Hz

1000 Hz

2000 Hz

120°

150°

180°

The polar diagrams of both channels only differ in the opposite alignment 0°/180°.

Frequency response curve

+20

+15

+10

-5

-10

-15

-20 30 100 200 500 2000 5000

000105

10000 20000 50000 Hz

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Sennheiser electronic GmbH & Co. KG Am Labor 1 30900 Wedemark, Germany Phone +49 (5130) 600 0 Printed in Germany Fax +49 (5130) 600 300 Publ. 10/07 www.sennheiser.com 524137/A01