Studio Projects C4 User manual

C   S E R I E S   M I C R O P H O N E S

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• Professional Studio Microphones

• Transformerless circuitry

• Large diameter pressure gradient capsule

employing 6 um gold sputtered Mylar diaphragms

• Low-noise FET Preamplifier

• Dual Triode “6072” hand tested tubes (T3 Only)

• Multi-Pattern variable power supply (T3 Only)

• Heavy duty road case (All Models)

• Elastic heavy duty shock mount (All Models)

Studio Projects is manufactured and marketed under the direction of:

PMI AUDIO GROUP

USA: 1845 W. 169th Street, Gardena, California 90247

voice: [phone] facsimile: [phone]

toll-free USA: [phone]

UK: Unit 2 Babbacombe Business Park

Babbacombe Road, Torquay, Devon TQ1 3SY

tel: [phone]

email: [e-mail]

visit our web site at studioprojects.com

Studio Projects® Instruction Manual

INSTRUCTION BOOK CONTENTS

What is Studio Projects?...................................................................................................2

Guidelines For Proper Care/Use ......................................................................................2

Electrical Features…........................................................................................................3

Operation………………………………………………….................................................4

Troubleshooting Tips…………………………………………………..........………………5

Origins and manufacture.................................................................................................6

Applications....................................................................................................................6

C1..................................................................................................................................7

C3......................................................................................................................................8

T3..................................................................................................................................9

C4..................................................................................................................................10

LSD2................................................................................................................................11

WHAT IS STUDIO PROJECTS?

Based in Gardena, California, Studio Projects is a line of microphones and electronics started in

1999 by Alan Hyatt of PMI Audio Group. Our line of award winning microphones and preamps is

a result of a partnership between PMI Audio and Beijing 797 Audio Co. LTD. a manufacturer of

condenser microphones and professional audio products since 1952.

Within the line, there is a broad and evolving range of tools designed to provide the engineer and

recordist with a level of sonic quality and durability. Studio Projects continues to prove that innova-

tive designs and years of experience produces quality products that fit well in all professional and

home applications.

If you have any questions or issues at any time, please feel free to contact us by phone or email,

or log on to our web forum at http://www.pmiaudio.com/forums/.

GUIDELINES FOR PROPER CARE/USE

Large capsule capacitor mics such as the Studio Projects C-series, are built to handle a fairly

substantial degree of abuse. However, one should always consider their investment and treat

these mics with delicacy. The capsule itself is by far the most easily damaged component

within the microphone. The biggest threat to a capsule is moisture and high humidity. A cap-

sule corrupted by moisture, will lose sensitivity and exhibit a rumbling sound. This is due to the

water molecules condensing within the very small gap between the diaphragm and backplate.

When this occurs, the two plates cannot properly maintain their electrical charge. The result

is that the microphone may become unusable and require repair. Since it is a lot more fun to

make recordings than to send your mic to us for servicing, please consider the following:

• Improper vocal recording technique is the primary cause of moisture-related capsule failure.

Breathing on the transducer will cause the mylar diaphragm to immediately fog up. If this

occurs repeatedly over time, the capsule will most likely short out.

This may seem a bit ironic, since the microphones are intended for vocal use, but with proper

care and technique, these problems can be avoided. One easy way to prevent moisture from

reaching the capsule is to put some distance between the vocalist and the microphone. A

distance of six to twelve inches is acceptable. It is common to see stage performers sing-

ing directly into the grill of a handheld unit, but these are generally dynamic microphones,

which are much more robust and employ an entirely different operating principle - which is

not nearly so susceptible to moisture. Additionally, large diameter capacitor microphones are

quite sensitive. It is not necessary to get right up on the grill. Doing so may in fact result in

artifacts such as sibilance and popping. For reference, it may be of help to look up a picture

of Frank Sinatra or Billie Holiday to observe how these legends placed themselves in relation

to their microphones.

• A pop filter is a device, used as an additional layer of protection between vocalist and

microphone. Ideally suited for this purpose is the Studio Projects part# SP-MPF. Additional

benefits of the use of a pop filter are the reduction of plosives and sibilance. Studio Projects

recommends the use of a pop filter for all vocal work where vocalist and microphone are in

close proximity.

• Provided with all Studio Projects microphones is a zipper pouch or hard shell case. When not

in use, storing the microphones in these provided accessories will help to protect them from

moisture, dust, scratches and dents.

• A foam windscreen is included with each microphone for use in conditions where wind may

interfere with sound pickup. To use, simply slide windscreen over microphone grill. Verify that

microphone is properly oriented towards sound source, as it is harder to see which way the

mic is facing once the windscreen is in place.

• In the event of the microphone exhibiting loss of signal and or rumbling noise, place it in a

warm, low humidity environment, such as the middle of the Sahara desert at high noon, or

preferably several inches beneath an incandescent light bulb. This will help to remove any

moisture. If problems persist, please contact Studio Projects directly using the contact infor-

mation found in this manual.

ELECTRICAL FEATURES

The C1, C3, C4 & LSD2 require +48-volt phantom power to operate. Verify that your gain device

(preamp, mixing console, etc.) provides this feature. Both microphones are solid state devices

with externally polarized transducers, FET impedance conversion circuitry and active outputs.

Their individual circuit topologies provide low noise and high sound pressure handling capabilities.

The T3 employs a separate power supply, which provides power to the microphone. The

impedance circuitry is vacuum tube based with externally polarized transducer. The output

is balanced, employing a humbucking transformer. The circuit topology provides very high

sensitivity, low noise and high sound pressure handling capabilities.

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C4 Using a male to female 3-pin XLR cable, plug microphone in to gain device (preamp, mix­ing console, etc.) of course, all the while making sure that +48-volt phantom power is active and
gain is not at a level sufficient to cause ear-splitting feedback through monitor speakers. Address
microphone towards the grill mesh in the top of the microphone. Included with all C4 microphone
pairs are two sets of capsules: two cardioid ( the ones with the holes around the circumfer­ence) and two omnidirectional (no holes around circumference). The threaded capsules may be
changed by simply unscrewing one capsule and screwing another on to the amplifier body. Since
the threads are delicate, take particular care not to “cross thread” the capsules during installa­tion. It will not harm the microphone to change the capsule while still plugged in, but it will make
a horrendous noise, so it is always best to perform this operation while the mic is unplugged, or
the mic level is at minimum. If bass cut is required, select one of two featured high pass filters.
150Hz setting will attenuate low frequencies by 6dB/octave starting at 150Hz. 75Hz. Setting will
attenuate low frequencies by 6dB/octave at 75Hz. The “pad” switch reduces the signal level
between the capsule and the circuitry. Engage -10dB or -20dB pad for very high sound pressure
levels, which may otherwise overload microphone circuitry, causing distortion.

LSD2 Using the included 7-pin to dual 3-pin XLR breakout cable, plug microphone into 2­channel gain device (preamp, mixing console, etc.), making doubly sure that +48-volt phantom
powers are active and gain is not at a level sufficient to cause ear-splitting feedback through
monitor speakers. Address microphone from side (not the top of the grill). The switches used to
control the upper capsule are located on the front of the microphone above the SP logo badge,
while the control switches for the lower capsule are found on the rear of the mic. If bass cut is
required, select 150Hz high pass filter. The “pad” setting reduces the signal level between the
capsule and the circuitry. Engage -10dB pad for very high sound pressure levels, which may
otherwise overload microphone circuitry, causing distortion. Adjust upper grill by grasping and
turning. It’s that simple! Further application information regarding the LSD2 can be found at the
Studio Projects website: www.studioprojects.com/downloads.html

TROUBLESHOOTING TIPS

No Sound Whatsoever:

All C-series microphones require external voltage in order to operate. Verify that +48-volt phan­tom power (C1,C3,C4 & LSD2) is present. For T3, ensure that power supply is properly con­nected and power is on.

Still No Sound (C1,C3,C4 & LSD2):

Make sure microphone cable is XLR male to XLR female and connect only to inputs labeled “Mic
In”, or “Microphone”, etc.

The Back Of My C3/T3 Sounds Different From The Front When Set To Figure Of Eight:

Are you monitoring with headphones while talking into the mic? If so, the back of the mic will
sound strange. This is because the rear diaphragm of the microphone takes the sound of your
voice and flips it 180° out of phase. Meanwhile, the lower frequency range of your voice travels
in phase along your jaw line to your ears. When the out of phase signal from the headphones
meets the in-phase signal from your ears, the two signals are phase cancelled. Since this effect
only occurs during the conditions described above, it will not affect recordings.

OPERATION

C1 Using a male to female 3-pin XLR cable, plug microphone in to gain device (preamp,

mixing console, etc.), making sure that +48-volt phantom power is active and gain is not at a

level sufficient to cause ear-splitting feedback through monitor speakers. Address microphone

from the side (not the top of the grill) above the SP logo badge. If bass cut is required, select

one of two featured high pass filters. 150Hz setting will attenuate low frequencies by 6dB/

octave starting at 150Hz. 75Hz. Setting will attenuate low frequencies by 6dB/octave at 75Hz.

The “pad” switch reduces the signal level between the capsule and the circuitry. Engage

-10dB or -20dB pad for very high sound pressure levels, which may otherwise overload micro-

phone circuitry, causing distortion.

C3 Using a male to female 3-pin XLR cable, plug microphone in to gain device (pre-

amp, mixing console, etc.), making sure that +48-volt phantom power is active and gain

is not at a level sufficient to cause ear-splitting feedback through monitor speakers.

Address microphone from the side (not the top of the grill) above the SP logo badge.

If bass cut is required, select 150Hz high pass filter. The “pad” setting reduces the sig-

nal level between the capsule and the circuitry. Engage -10dB pad for very high sound

pressure levels, which may otherwise overload microphone circuitry, causing distortion.

Use the three-way switch on the front of the C3, below the SP logo, to adjust the direc-

tional characteristics of the microphone between omnidirectional, cardioid and figure of eight:

• Omnidirectional (O-shaped nomenclature): Sound from all directions is picked up by micro-

phone without any side or rear attenuation.

• Cardioid (Heart-shaped nomenclature): Some attenuation of sound occurs on sides and rear

of microphone.

• Figure of eight: Very significant attenuation of sound pickup on sides of microphone. Front

and rear of microphone pick sound up equally, but 180° out of phase from one another.

T3 Plug power supply into ac receptacle. Connect 3-pin male to female XLR cable to output

jack on front of power supply. Use included 7-pin XLR cable to connect microphone to power

supply. Ensuring that gain device (mixing console, preamp, etc.) is not at a sufficient level to

cause ear-splitting feedback. Turn on microphone power supply. Address microphone from the

side (not the top of the grill) above the SP logo badge.

*Note – Power supply has 110v/240v switch. Ensure that switch is set to proper AC voltage for

your region. This switch is set at the factory at the time of manufacture according to region, but

a microphone purchased used, for instance, may have the incorrect voltage setting.

*Another note – The presence of or lack of +48- volt phantom power will not affect operation

of T3.

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