Superlux D401S User Manual

J U S T P L A Y I T

D401S

Speci ficat ions

Type

Dynamic microphone

Polar pattern

Omni-directional, rota ti on al ly symmetrical ab ou t micro ph on e axis,
uniform with frequency. (Figure 1)

Frequency response

80 to 15,000 Hz (Figure 2)

Sensitivity (at 1,000 H z Ope n Circuit Volta ge)

-5 4dBV /Pa (2.0 mV/Pa) 3d B , 1Pa=94 dB SPL±

Rated impedance

200Ω

Connector

Integral 3 pin male XLR type

Finish

Metal construction with Grey body and champagn e- si lv er housing
painted finish

Environmental conditions

The D401S operates between -10℃ to +5 0℃(1 4℉ to 122℉) with
relative humidity betw ee n 0 t o 95%.

1000 H z

2000 H z

4000 H z

TYP ICAL PO LAR PAT TERN (F igure 1)

dB

10

0

-10

-20

RELATIVE RESPONSE IN dB

20 50 100 200 500 1000 2000 5000 100 00 2000 0 Hz

Frequency Response

FREQUENCY IN Hz

TY PICAL FR EQ UE NCY R ESP ONS E (Fi gur e 2)

8000 H z

1600 0 Hz

Descr iptio n

Superlux D401S is an Omni directional, dynamic microphone with no
proximity effect. With its inherent uniform sensitivity, and flat on-axis
response that provide articulate speech for interview, broadcast, or
podcast.
Very suitable for recording only application, so there is no feedback concern
or coloration.

Multiple vibration reduction system that reduce handling noise to minimum.

Sleek profile for comfort handling and visual effect, and enhancing wind

Fe ature s

! Omni directional, uniform sensitivity. Balance and nature sound.

! Low impedance, high dynamic range.

! Spherical pick-up, capturing all related message.

! Strengthen metal grill, sturdy die-cast shaft for maximum impact

protection.

! On/off mute switch.

! Especially suitable for interview, speech recording, communication,

language education etc.

Acces sorie s

Supplied accessories

Microphone clip ------ - ---- -------- HM38S-------- ----------------

Omni Microphone

User Guide

G O A N G - F A N N C O . , L T D .

© 20 07, SUPE RLUX I
LB100D4 0101EN ( Rev. 1)

Dimensions

Φ47 .0mm x 1 74.0 mm (1. 85in . x 6.85 in.) , Figu re 3

Net weight

280.0 grams (9.9 oz)

HM38S

Mic rophone clip

RoHS

The D401S including the product and pa ck ag es follow t he instruction
of EU 2002/95/EC and comply to RoH S.

Di men sio ns (F igure 3)

nc.

－1－

－2－

－3－

Optional accessories

Gooseneck mic base ------- -- -- ---- -------- DS0 03 A
Table stand ------------------- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- - HM6
Table stand ------------------- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- - D1
Gooseneck --------- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- ---- GM1 3G

DS0 03A

Goo senec k mic bas e

Table stand

------ -----------

D1

HM6

Table stand

GM1 3G

Goo senec k

XLR 3F to XLR 3M

Knowing your microphone

Superlux provides variety selection of microphones for professionals and amatures. To
know your microphone is the first step to successful result.

Type of transducer

Dynamics

Durable and simple structure, operates in all kinds of environments. A good dynamic
microphone is capable to operate at very high sound pressure level without distortion.
Due to structure limit, dynamics cannot be built as small as condenser, but dynamics

doesn require power to operate.

About Frequency Response

Flat

Suitable for working at controlled environment, or for acoustic measurements.
Although people persuit flatness, but for none-professionals, it is a challenge to m akes
it works as expectation.

Popular curve response

Based on years of practical experience of pro users. There are curves to be build for
various applications, so that it is very simple to use the microphone for the purpose.
Limiting bandwidth, and emphasing are typical skill.

Variable response

Incorporating switchable filters to elliminates interference, such as sub-sonic filter to
cut air-conditioner and floor vibrations. And allows full flat when used in controlled
environment.

Directivity

Using a handheld microphone

For best s ignal to noise ratio, distance from the handheld microphone to the sound source
shall be as shor t as possible.

For higher gain before feedback and lowest background noise, the microphone shall be
pointed directly to the sound so urce. ( refer t o the illustration below) The sensitivity of a su per
cardioid microphone i s highe st on axi s and low est at 120 to 135 degrees.

To avoid in terfe rence between multiple microphones, e ach sound source shall be pick ed-up
by one microphone, use as less microphones as possible in o ne space, or turn-on as less
microphones as possi ble at th e same ti me.

To reduce crosstalk between micropho nes, an 1:3 guide line shall be follow: The distance
between mi cropho ne A to t he sound source A is "1", the distance between a ny other
microphone to the soun d source A s hall be m ore than 3 t imes.

When the (super) cardioid microphone get closer to the sound source, the low freque ncy
response is boosted , as so call "proximity effect". Experience singe r ta kes advan tages of the
proximity effect to improve the richness of his/her voice or to increase the bass of the
instrument as if an extremely high quality equalizer is us ed. Same idea to reduc e the bass by
increase the di stanc e to reduc e the bas s when needed.

Reflec ting surface affect so und as well. Bewa re of these s urfac es such as w all, table, or fl oor.
Place t he mic rophon e away f rom the h ard surfaces o r direc tly contact t hese surfaces to form a
pressure zone micropho ne.

When using the microphone outdo or or in windy environment, addit ional foam wind screen
helps to reduce wind noi se.

Keep g rill pop s creen clean to a void degrading the sound quality. Do not expo se th e
microphone at high hum idity /temp erature environment to avoid damage.

Mon itor

Louds peake r (s)

120 ~13 5° °

180°

90°

20-50mm

0°

120 ~13 5° °

90°°

Rec ommen ded

Lou dspea ker Loc ation s

P.A. S ystem

Louds peake r

－4－

Omni

Equal sensitivity to all direction, so that the microphone doesn't need to pointing
toward the sound source. Low handling and wind noise. Welcome by news gathering,
and music recording applications.

Distance to source

Close miking or distant miking sound very differently. Vocal recording or live
performance practice close miking mostly. Suitable proximity effect is one desired
target, and lower feedback problem is another factor for live sound application.

While distant miking is common practice for recording, especially stereo pair
recording with large group of performers, such as orchestra or choir.

Distant miking generally picks up less bass section with pressure gradient type of
microphone (cardioid, figure-8, shotgun...) due to acoustic nature and lack of
proximity effects.

Rich bass with distant miking can be recorded with pressure type of microphone
(Omni), which performs the same frequency response with close or distant pick-up.

－5－

Mounting the microphone

Pressure gradient microphone is very sensitive to vibration. Suitable shock mount for
high performance microphone is necessary for extreme low noise recording. Sturdy
stand can set the microphone excatly at the sweet spot and keep it there. Choose heavy
duty microphone stand for studio condenser microphone which weights much more
than handle microphone.

Superlux provides wide range of microphone stands for various demands. Big Foot
Willie is specially developed for large condenser microphones that able to support 2
large microphones with stereo bracket for single point stereo recording.

Extension foot on all the 'E' versions serve to mount heavy studio microphone in limit
space live sound applications.

Maintainence

Dynamic microphone shall be kept in low humidity environment for best sound
performance. Store the condenser microphones in airconditioned room or dehumidifier
to keep away form moisture. Clean air is another important factor. Keep away from
smoking environment to avoid tar residuals.

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