Superlux WH5 User Manual
JUST PLAY IT
Specifications
Type
Dynamic microphone
Polar pattern
Unidirectional (Super Cardioid),
rotationally symmetrical about
microphone axis, uniform with
frequency. (Figure 1, 2, 3)
Polarity
Pin 2 output positive voltage
(related to pin 3) when diaphragm
receives positive pressure.
(Diaphragm moving inward)
Connector
Integral 3 pin male XLR type
250 Hz
500 Hz
1000 Hz
TYPICAL DRUMPOLAR PATTERN (Figure 1)
2000 Hz
4000 Hz
8000 Hz
dB
10
0
-10
-20
RELATIVE RESPONSEIN dB
20 50 100 200 500 1000 2000 5000 10000 20000Hz
Frequency Response
FREQUENCY INHz
TYPICAL DRUM FREQUENCYRESPONSE (Figure 4)
WH5
Classical Vocal Microphone
User Guide
Frequency response
Drum: 30 to 10,000 Hz (Figure 4)
Instrument: 20 to 12,500 Hz
(Figure 5)
Vocal: 50 to 16,000 Hz (Figure 6)
Sensitivity
(at 1,000 Hz Open Circuit Voltage)
Drum: -62dBV/Pa (0.8mV/Pa)
Instrument: -55dBV/Pa
(1.8mV/Pa)
Vocal: -54dBV/Pa (2.0mV/Pa)
1Pa=94dB SPL
Rated impedance
200Ω
Max. SPL
Drum: 147 dB SPL
Instrument: 134 dB SPL
Vocal: 134 dB SPL
THD 1% 1kHz≦
(1, 000 load)Ω
Finish
Metal construction with chrome
gloss finish.
Environmental conditions
The WH5 operates between -10
to +50 (14 to 122 ) with
℃℉ ℉
relative humidity between 0 to
95%.
℃
Dimensions
Φ80.0mmx76.5mmx200mm
(3.15in.x3.00in.x7.87in.)
Net weight
750g (26.45oz.)
250 Hz
500 Hz
1000 Hz
2000 Hz
4000 Hz
8000 Hz
TYPICAL INSTRUMENTPOLAR PATTERN (Figure 2)
250 Hz
500 Hz
1000 Hz
2000 Hz
4000 Hz
8000 Hz
TYPICAL VOCALPOLAR PATTERN (Figure 3)
dB
10
0
-10
-20
RELATIVE RESPONSEIN dB
20 50 100 200 500 1000 2000 5000 10000 20000Hz
Frequency Response
FREQUENCY INHz
TYPICAL INSTRUMENT FREQUENCYRESPONSE (Figure 5)
dB
10
0
-10
-20
RELATIVE RESPONSEIN dB
20 50 100 200 500 1000 2000 5000 10000 20000Hz
Frequency Response
FREQUENCY INHz
TYPICAL VOCAL FREQUENCYRESPONSE (Figure 6)
GOANG-FANNCO.,LTD.
2007, SUPERLUX I
LB1000WH501EN (Rev. 1)
nc.
Description
Professional microphone users tend to use different microphones
for different sound sources so that to achieve a desired sound
character. With Superlux WH5 microphone, a trilogy concept
microphone with 3 different capsules built-in so that the user can
select one of the capsule for the sound he preferred. Classical
appearance integrated with latest microphone technology for artist
demanding a unique "oldies" appearance with "goodies" music
performance.
A 3-position switch on the back to switch between percussion,
instrument, or vocal setting. On/off switch on the base for artist to
control the sound at his/her reach.
Drum
Instrument
Vocal
A 3-position switch on the back to
switch between percussion,
instrument, or vocalsetting.
On/off switch on the base for
artist to control the sound at
his/her reach.
Features
l
3 different frequency response capsules in one body. Always a
sound meet your demand.
l
Typical application for percussion, instrument and vocal.
l
Classical appearance, latest technology.
l
On/off control, and 3-position capsule selection control.
l
Internal shock mount for reducing handling noise.
l
5/8" thread of standard microphone stands.
l
Tilt limit, and position set mechanism for 45 degree forward and
80 degree backward setting.
l
Chrome polish finish for long-term operation and collection.
Supplied accessories
Table stand included -------------------- --------------------- D1-----
D1
Tablestand included
Related accessories
Table stand --------------------------------------------------- HM6
Instrument boom stand --------------------------------------- MS104
HM6
Tablestand
MS104
Instrument
boom stand
Using a handheld microphone
For best signal to noise ratio, distance from the handheld microphone to the
sound source shall be as short as possible.
For higher gain before feedback and lowest background noise, the
microphone shall be pointed directly to the sound source. (refer to the
illustration below) The sensitivity of a super cardioid microphone is highest
on axis and lowest at 120 to 135 degrees.
To avoid interference between multiple microphones, each sound source
shall be picked-up by one microphone, use as less microphones as
possible in one space, or turn-on as less microphones as possible at the
same time.
To reduce crosstalk between microphones, an 1:3 guide line shall be follow:
The distance between microphone A to the sound source A is "1", the
distance between any other microphone to the sound source A shall be more
than 3 times.
When the (super) cardioid microphone get closer to the sound source, the
low frequency response is boosted, as so call "proximity effect". Experience
singer takes advantages 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 used. Same idea to reduce the bass by increase the
distance to reduce the bass when needed.
Reflecting surface affect sound as well. Beware of these surfaces such as
wall, table, or floor. Place the microphone away from the hard surfaces or
directly contact these surfaces to form a pressure zone microphone.
When using the microphone outdoor or in windy environment, additional
foam wind screen helps to reduce wind noise.
Keep grill pop screen clean to avoid degrading the sound quality. Do not
expose the microphone at high humidity/temperature environment to avoid
damage.
Monitor
Loudspeaker(s)
120 ~135
180
90
20-50mm
0
120 ~135
90
Recommended
Loudspeaker Locations
P.A. System
Loudspeaker
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.
PRO AUDIO
GF
Shanghai Shenzhen Taipei••
GOANG-FANN CO.,LTD.
3F, No.7,Alley2, Lane 342, Fu-Der 1st Road
Tel: 886-2-2693 1323
Fax:886-2-2694 8990
E-mail: sales@superlux.com.tw
Http://www.superlux.com.tw
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