Studio Projects CS5 User Manual

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]

Instruction Manual

visit our web site at studioprojects.com

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

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INSTRUCTION BOOK CONTENTS

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

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

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

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

Troubleshooting Tips…………………………………………………..........………………6

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

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

CS1..................................................................................................................................7

CS5...........................................................................................................................8

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 produce 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 CS-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 CS-Series microphones is a 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.

ELECTRICAL FEATURES

The CS1 and CS5 require +48-volt phantom power to operate. Verify that your gain device

(preamp, mixing console, etc.) provides this feature. Both CS 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.

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StudioProjects

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Variable Polar Patterns (CS5 Only)

The polar pattern rotary switch is located on the right front of the mic. Use the right thumbwheel

on the front of the CS5 to adjust the directional characteristics of the microphone between figure

of eight, hypercardioid, cardioid, wide cardioid, and omnidirectional.

Sho wn b elow are the five pol ar r esponse graphs. To aid in visual clar ity, four of t he r ep-

res ented frequencies are shown only on the left side of the polar chart and three on the right. If

you are unfamiliar with polar response graphs, this may look confusing at first.

• 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.

• Hypercardioid (Mushroom-shaped nomenclature): Significant side attenuation through 120

degrees with a small lobe on the rear.

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

of microphone.

• Wide Cardioid (Moon-shaped nomenclature): Significant rear attenuation with little to no side

attenuation.

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

phone without any side or rear attenuation.

OPERATION

Make sure that +48-volt phantom power is active and gain is not at a level sufficient to cause

ear-splitting feedback through monitor speakers. Use a female to male 3-pin XLR cable to

connect microphone to gain device (preamp, mixing console, etc.). Address microphone from

the side above the SP logo badge. Enjoy.

If bass cut is needed, four selectable high pass filters are available at the following frequencies;

50Hz, 75Hz, 150Hz and 300Hz. If you are looking at the back of the CS1/5, this would be

the rotary switch on the left. The frequency response graph is shown below, along with the

four filter curves:

In addition to the four high pass filters, there are also four selectable low pass filters which

provide 6dB/octave attenuation of high frequencies at: 15kHz, 7kHz, 5kHz or 3kHz. Looking

at the back of the CS1/5, the rotary switch on the right controls the low pass filter section. The

frequency response graph is shown below, along with the four filter curves:

Use the “Pad” feature for high SPL signal levels, which could overload the mic’s internal cir-

cuitry, causing distortion. The “Pad” switch is found front and center of the CS1 and on the

front left of the CS5. Four possible settings are available: -5dB, -10dB, -15dB and -20dB.

The frequency response graph is shown below, along with the four pad levels:

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