TB1
Studio Projects is manufactured and marketed under the direction of:
PMI AUDIO GROUP
USA: 1845 W. 169th Street, Gardena, California 90247
voice: (310) 323-9050 facsimile: (310) 323-9051
toll-free USA: (877) 563-6335
UK: Unit 2 Babbacombe Business Park
Babbacombe Road, Torquay, Devon TQ1 3SY
tel: +44 (0) 1803 329848
email: info@pmiaudio.com
Studio Projects
®
Instruction Manual
• High Quality performance
• Highly durable
• Well suited for project/home studio use
• Active output circuitry (B1 & B3)
• 34mm diameter pressure gradient capsule
employing 3um mylar diaphragms
• Low-noise FET impedance converter (B1 & B3)
• Triode impedance converter (TB1)
• Dedicated power supply (TB1)
• Heavy duty road case (TB1)
visit our web site at studioprojects.com
B S E R I E S M I C R O P H O N E S
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...................................................................................................5
Applications.....................................................................................................................5
B1..................................................................................................................................6
B3......................................................................................................................................7
TB1..................................................................................................................................8
WHAT IS STUDIO PROJECTS?
Based in Gardena, California, Studio Projects is a line of microphones and electronics started
in 1999 by PMI Audio Group founder, Alan Hyatt. 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 these goals are
not mutually exclusive. It is possible to offer great sounding equipment for those with a modest budget.
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 B-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, or if you invest in the Studio Projects Pop Filter, a
moisture-proof cover is included to place over the mic and filter at the end of the session.
• 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,(bring
lots of water) or 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
information found in this manual.
ELECTRICAL FEATURES
The B1 and B3 require +48-volt phantom power to operate. Verify that your gain device (pre-
amp, 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 TB1 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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TROUBLESHOOTING TIPS
No Sound Whatsoever:
All B-series microphones require external voltage in order to operate. Verify that +48-volt phan-
tom power (B1& B3) is present. For TB1, ensure that power supply is properly connected and
power is on.
Still No Sound (B1&B3):
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 B3 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.
Mic Clip Looks As If It Should Fit On Mic Stand, But For Some Reason, It Will
not Screw On:
There are two standard thread sizes for mic stands, 5/8-27 and 3/8-16. Studio Projects shock-
mounts ship with a brass reducer installed, which allows for the 3/8-16 threads. For use with 5/8-
27 mic stand threads, unscrew adapter from shockmount, using a small coin as a screwdriver.
Keep track of adapter when not in use – you never know when you may need it…
ORIGINS AND MANUFACTURE
Studio Projects Microphones are assembled in Beijing, China by 797 Audio to a specification cre-
ated by Studio Projects, Gardena, California. All Studio Projects microphones are inspected and
tested at the factory. Studio Projects microphones meet the requirements of electronic equipment
sold in the USA, Canada, and the European Union. All Studio Projects products are CE Approved,
and meet the new RoHS and WEEE requirement.
APPLICATIONS
• Close miking of instruments with high sound pressure levels
• Announcer’s mic for broadcasting/dubbing
• Home recording and project studios
• Vocalist recording
• Spot mic for: wind instruments, strings, percussion and guitar amps.
OPERATION
B1 Using a quality male to female 3-pin XLR cable like the Studio Projects SPC-203X,
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. The 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 pres-
sure levels, which may otherwise overload microphone circuitry, causing distortion.
B3 Using a male to female 3-pin XLR cable like the Studio Projects SPC-203X,, plug micro-
phone 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 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.
Use the three-way switch on the front of the B3, 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.
TB1 Plug power supply into ac receptacle. Connect 3-pin male to female XLR
cable to output jack on front of power supply like the Studio Projects SPC-203X,. Use
included 7-pin XLR cable to connect microphone to power supply or the like the Studio
Projects SPC-207X,. 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 TB1.
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