Superlux E108XLR User Manual

J U S T P L A Y I T

E

105

E

108

Headset Condenser Microphone

User Guide

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

© 20 07, SUPE RLUX I
LB100E1 0501EN ( Rev. 1)

Spec ific atio ns

Type

Back electret condense r

Element

Press ure gradient ,
FET p reampl if ier.

Polar pattern

E105: Cardi oi d (F ig ure 1)
E108: Figure 8,No is e-Canceling
(Figure 2)

Frequency response

80 to 18,00 0 Hz (Figure 3, 4)

Sensitivity (at 3V 2.2K)

E1 0 5：-46d B V/Pa (5. 0mV /Pa)
E1 0 8：-44d B V/Pa (6. 3mV /Pa)
*. 1 Pa = 94dB S P L

Rated impedance

Phantom: 200Ω
Battery: 600Ω (P S418D test)

Minimum load impedance

Phantom: 1,000Ω
Battery: 2,000Ω (PS418D test)

Max. SPL (1,000Ω lo ad)

E1 0 5

Ph a ntom : 1 39dB ( P S418S t e st)

Ba t tery : 1 29dB ( P S418D t e st)

E1 0 8

Ph a ntom : 1 37dB ( P S418S t e st)

Ba t tery : 1 27dB ( P S418D t e st)

*. T H D≦1% 1kH z

Equivalent noise level

(A-weighted)

(PS418S test)

(PS418S test)

Signal-to-noise ratio

(1,000 Hz at 1 Pa)

71 dB

Dynamic range(1,000Ω load)

E105

Phantom: 116dB (PS418S test)
Battery: 106dB (PS418D test)

E108

Phantom: 114dB (PS418S test)
Battery: 104dB (PS418D test)

Polarity

Pin 2 output positive voltag e
(rela ted to pin 3) w hen di aphragm
recei ves po si tive p ressure.
(Diaphragm movin g inward)

Power supply

E1 0 5/E1 0 8: 3.5 m m stereo plu g

wi red as m o no out p ut.

E1 0 5TQG / E108 T QG:

Tini Q- G ( TA4F ) s ocke t

E1 0 5XLR / E108 X LR:

Ph a ntom 9 t o 5 2V DC, 3 . 5mA

E1 0 5DXL R /E10 8 DXLR:

Ph a ntom 9 t o 5 2V DC, 3 . 5mA;

Ba t tery 1 . 5VDC ( A A), 120 0 h rs

ty p ical ( a lkal ine ).

Environmental conditions

The E 105 an d E108 operate s
between -10℃ t o +50℃(14℉
to 12 2℉) with re lative humidity
between 0 t o 95%.

Net weight

30.0 grams (1 .05 oz ),
accessorie s excl ud ed.

250 Hz

500 Hz

1000 H z

TYP ICAL PO LAR PAT TERN (F igure 1)

200 Hz

1000 H z

1000 0 Hz

TYP ICAL PO LAR PAT TERN (F igure 2)

dB

10

-10

-20

RELATIVE RESPONSE IN dB

dB

10

-10

-20

RELATIVE RESPONSE IN dB

E10 B

Frequency Response

0

20 50 100 200 500 1000 2000 5000 100 00 20 000 Hz

TY PICAL FR EQ UEN CY RE SPO NSE (Fi g ur e 3)

Frequency Response

0

20 50 100 200 500 1000 2000 5000 100 00 20 000 Hz

TY PICAL FR EQ UEN CY RE SPO NSE (Fi g ur e 4)

E10 A

FREQUENCY IN Hz

E1 05

FREQUENCY IN Hz

E1 08

2000 H z

4000 H z

8000 H z

E1 0 5 E1 0 8

Desc ript ion

The E105/E108 are back electrets condenser, head worn microphones. They
were designed for close-up speech for constant distance sound pick up
such as sports, interviews, live stage and personal PA package sound
reinforcements. Newly design wiring for sleek and low profile appearance
and long time wearing. Elastic spring wire to fit all head sizes, an excellent
way for the sporty users..

Fe atur es

1. High quality head worn microphone for hands free applications.

2. The E105 features cardioids polar pattern to reject side and rear sound
that increase gain before feedback.

3. The E108 features figure of 8 polar pattern with the same sensitivities of
both side and rejects sound from the side or distant sound (ambience).

4. Scratch resist and stainless low profile design.

5. 1.5 meters cable.

6. None suffix: Stereo 3.5mm plug wired as mono.

7. TQG suffix: TA4F plug for wireless system.

8. XLR suffix: TA3F plug with PS418S power adapter for phantom power
operation.

9. DXLR suffix: TA3F plug with PS418D power adapter for phantom and
battery power operation.

10. Microphone assembly, accessories, and packaging complied to EU
2002/95/EC code and complies to RoHS.

XLR3M

P

OW

E
R

PS

MO

41

D

8D

TA3M

ULE

TA3F input

3 pin XLR output

PS418D

3.5mm stereo plug

wired as mono output

E105/E108

TA4F
E105TQG
E108TQG

TA3F
E105XLR/DXLR
E108XLR/DXLR

TA3F input

3 pin XLR output

PS418S

XLR3M

Less t h an 23d B ( IEC/ D IN 651)

nc.

－1－ －2－

－3－

Wiri ng ill ustr atio n

Signa l

Shiel d

E105/E108

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

Directivity

Cardioid

Picks up most signal on axis. Rejects side and picks up least to the back.
Suitable for live sound re-inforcement. Apparent proximity effect and most
singer likes to take this bass boost advantages which is not good for speech.

Signa l

4 void

Shiel d

E105TQG/E1 08 TQG

Signa l

Shiel d

E105XLR/E1 08 XLR

E105DXLR/E 10 8DXLR

Supp lied a cces sori es

Pop sc reen - - ---- - ---- - ----- - ---- - ---- --- ---- --- ---- - S23

1. 5 V alka l ine ba t tery( D XLR) - - ---- - ----- - ---- - ---- --- --- A A ( UM3)

S23

Pop screen

AA(UM3)

1.5 V alkalin e batte ry

－4－

Condenser

Extremely light weight diaphragm, very sensitive to sound. Very small
versions available for hiding applications. High performance condenser
microphones are regarded as standard equipment of recording studios for
extreme detail capturing. Operates with power, such as phantom or battery.

Powering microphone

Condenser microphones work with power. Professional standard is 48VDC
phantom power. Some microphones work with lower voltage as low as

1.5VDC, such as battery power model. E105/E108 work with 9 to 48VDC
phantom only and 1.5VDC battery. Please make sure your sound system
provide adaquate power to the microphone.

About Frequency Response

Flat

Suit able for work ing at con trolled env ironmen t, or for acou stic
measurements . Although people persuit fla tness, but for non e­professionals, it is a challenge to makes it works as expectation.

Popular cur ve 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 sub­sonic filter to cut air-conditioner and floor vibrations. And allows full flat
when used in controlled environment.

－5－

Figure 8, bi-directional

Equal s ensitive t o both ends, and rejects the sides. Good to noisy environment to reject
distant noise and low frequency. Also a good choice for stereo recordings, such as
Blumlein. Typical pressure gradient characteristic.

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.

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

Condenser 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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