Superlux PRA318S User Manual

J U S T P L A Y I T

Specifications

Type

Dynam ic mi croph one

Polar pattern

Omni- direc tional, ro tationally s ymmetrica l abo ut mi crophone axis,
unifo rm wi th frequen cy. (Fig ure 1)

Frequency response

50 to 15,000 Hz (Figure 2)

Sensitivity (at 1,00 0 H z Ope n C ircui t Vo lt age)

-5 3dB V/Pa (2.2 mV/ Pa) 3d B , 1Pa=9 4d B SPL±

Rated impedance

500Ω

Connector

Integ ral 3 pin male XLR type

Finish

Black pain t

Environmental conditions

The PRA318 oper ates between -10℃ to +50℃(14℉ t o 122℉) with
relative humidi ty be tween 0 to 95 %.

125 Hz

250 Hz

500 Hz

1000 H z

TYP ICAL PO LAR PAT TERN (F igure 1)

dB

10

0

-10

-20

RELA TIVE RE SPONS E IN dB

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

34. 0 mm

(1. 34 in.)

PRA 318S

Fre q uency Respo nse

FRE QUENC Y IN Hz

TY PICAL FR EQUE NC Y RES PO NSE (Fi gure 2 )

4.0 m m

(0. 16 in.)

34. 0 mm

(1. 34 in.)

PRA 318L

2000 H z

4000 H z

8000 H z

4.0 m m

(0. 16 in.)

Description

The PRA318S and PRA318L are broadcast interview microphone

with omni dynamic design. Light weight and black aluminum alloy

body for easy and long-term handheld applications. En-lengthen

version provides further reach without interview' s hand in the shot.

Omni design provides maximum voice clarity with no proximity

effect. Excellent for broadbast, ENG, news interviews…

Fe atures

! Tailored frequency response for voice clarity.

! Omni dynamic with no proximity effect.

! Shock mount capsule to reduce handling noise.

! Aluminum alloy shaft, light weight and sturdy.

! Unique wind noise prevention, suitable for outdoor applications.

! RoHS compliance. Environmental friendly product.

Accessories

Supplied accessories

Microphone clip ---- --- ---- ----- --- HM30
Foam winds creen ---- --------- ------- --------- --------- -------- S07

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

PRA 318

Omni-directional Dynamic Microphones
for Broadcasting and Interviewing

User Guide

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

20 09, SUPE RLUX I
LB10031 8S01EN ( Rev. 2)

Dimensions

PR A31 8/S : Φ34m m x 180 mm (M ax. Φ1 .34 in x 7. 09 in. )

PR A31 8/L : Φ34m m x 230 mm (M ax. Φ1 .34 in x 9. 06 in. ) Fig ure 3

180 .0 mm

Net weight

(7. 09 in.)

PRA31 8/S: 110 g rams (3.9 oz.)；PRA3 18/L: 140 grams (4.9 oz.)

94. 0 mm

RoHS

(3. 70 in.)

The PRA318 incl uding the pro duct and p ackages follow th e ins truction
of EU 2002/95/E C and comply to RoHS.

21. 0 mm

(0. 83 in.)

Di men si ons ( Fig ur e 3)

nc.

－1－

－2－

144 .0 mm

(5. 67 in.)

21. 0 mm

(0. 83 in.)

230 .0 mm

(9. 06 in.)

HM30

Mic rophone c lip

S07

Foam win dscreen

－3－

Optional accessories

Shotg un mount ---- --------- ---------------- --------- --------- HM35
Video c amera fixin g adaptor --- ------- --------- --------- ------ HM35C
Exten sion Bracke t --------- ---------------- --------- --------- - HM32
Table stand --- --------- ------- --------- --------- --------- ----- HM6
Suspe nding frame - --------- ---------------- --------- --------- HM33

Cable --------- --------- --------- --------- ------- --------- ---- FM 5FP

HM3 5

Sho tgun mo unt

HM3 2

Ext ensio n Brack et

FM5 FP

XLR 3F~6. 3mm

Cab le

－4－

HM3 5C

Vid eo came ra
fix ing ada ptor

HM3 3

Sus pendi ng fram e

HM6

Table sta nd

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 f or none-professionals, it is a challenge to makes
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

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－

Using a handheld microphone

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

For higher gain before feedback and lowest background noise, the micropho ne shall be
pointed direc tly to t he sound source. (refer to the illustration below) The sensitivity of a super
cardioid microp hone is highest o n axis and lowest at 120 to 135 d egrees.

To avoid interference between multiple microphones, each sound source shall be picked-up
by one microphone, use as les s microphones as possible in one space, or turn-on as less
microphones as possible at the sa me time.

To reduce crosstalk between microphones, an 1:3 guide line shall be follow: The distance
between microphone A to the sound s ource A is "1", the dist ance between any other
microphone to th e sound source A sha ll be more than 3 times.

When the (super) cardioid micropho ne get closer to the sound source, the low frequency
response is boosted, as so call "proximity effect". Experie nce singer takes advanta ges of the
proximity effect to improv e the richness of his/her voice or to increase the bass of the
instrument as if an extremely high q uality equalizer is used. Sam e idea to reduce the bass by
increase the distance to reduce th e bass when needed.

Reflec ting surface affect sound as well. Beware of these surfaces such as wall, tabl e, or f loor.
Place t he microphone a way from t he hard surfaces or di rectly contact these surface s to form a
pressure zone microphone.

When using the microphone outdoor or i n w indy environment, additional foam wind sc reen
helps to reduce wind noise.

Keep g rill pop screen clea n to avoid de grading the sound q uality. Do not exp ose the
microphone at hi gh humidity/t emperature environment to avoid damage .

Mon itor

Louds peake r (s)

120 ~135° °

180°

90°

20-50mm

0°

120 ~135° °

90°°

Rec ommen ded

Lou dspea ker Loc ation s

P.A. S ystem

Louds peake r

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 suppor t 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 t he condenser m icrophones 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.

－6－