Sennheiser Evolution E914 Manuel utilisateur
Bedienungsanleitung
Instructions for use
Notice d‘emploi
Istruzioni per l‘uso
Instrucciones para el uso
Gebruiksaanwijzing
914
Bedienungsanleitung..............................................................3
Instructions for use ...............................................................11
Notice d’emploi ......................................................................19
Istruzioni per l’uso.................................................................27
Instrucciones para el uso......................................................35
Gebruiksaanwijzing...............................................................43
11
914
The cardioid 914 is a pre-polarised condenser
microphone designed for demanding applications which
require a wide frequency response, high sound pressure
level, fast transient response and a compact design. With
its frequency response of 20 Hz to 20 kHz, the 914 is
able to capture the full sound of the instrument, while its
cardioid pick-up pattern isolates the microphone from
other on-stage signals.
An excellent microphone for cymbals and hi-hat, the
914 is also an ideal choice for precussion, woodwind
and string instruments.
Its excellent acoustic properties also make it a valuable
tool for home recording, the project studio and live stereo
pair recording.
Features
y
Outstandingly vivid and clear sound
y
Three-position sensitivity switch
y
Three-position bass roll-off/cut-off filter switch
y
Excellent directivity across the whole frequency range
y
High maximum sound pressure level
y
Wide frequency response
12
Delivery includes
y
914 microphone
yPouch
y
MZQ 800 microphone clamp
y
MZW 64 windshield
y
Instructions for use
yWarranty Certificate
Note:
The microphone head is not compatible with the K6
powering module.
13
Sensitivity and bass filter
The 914 is equipped with a three-position sensitivity
switch (A) and a bass filter switch (B).
Adjusting the sensitivity (A)
The microphone sensitvity can remain unchanged (0) or
be reduced by 10 dB or 20 dB. The latter is recommended
when there is a risk that the microphone or subsequent
microphone input is overmodulated, e.g. due to high
sound pressure levels from drums, brass instruments, etc.
Note:
We recommend that you mute the corresponding
microphone channel on the mixing console before
connecting and disconnecting the microphone cable,
switching on and off the phantom powering or setting
the switches (see diagram).
A
B
14
Frequency response curves with different sensitivities
Adjusting the bass filter (B)
The 914 has been designed for an extended low-
frequency bass response. With certain live or close
instrument miking applications, an over-emphasis of the
low frequencies can occur. This can be compensated for
by the 6 dB/octave roll-off filter. The cut-off filter reduces
low-frequency wind noise by 18 dB/octave.
Frequency response curves with different filters
-
50
-
55
-
60
-
65
- 7
0
2
0
50
1
00
2
00
500
1
000
2
000
5000
1
0000
2
0000
Hz
- 4
5
d
B
v
0
dB
-1
0
db
- 4
0
-
35
-2
0
db
-
50
-
55
-
60
-
65
- 7
0
2
0
50
1
00
2
00
500
1
000
2
000
5000
1
0000
2
0000
Hz
- 4
5
d
B
v
bass
- 4
0
-
35
r
o
ll
o
f
f
c
ut
of
f
15
Positioning the microphone
Percussion
In order to prevent interference due to crosstalk between
adjacent sound sources, try to position the microphone so
that the interfering sound source is located in the angle
area of the highest cancellation of the microphone
(approx. 180°, see polar diagram).
Position Commentary
Positioning the microphone a few
centimetres above the outer edge of the
hi-hat aiming down gives a natural, clear
sound.
If necessary, remove unwanted low-
frequency signal portions by high pass
filtering.
Attention: When closing the hi-hat, a strong
air current is created on the edge. If the
microphone is positioned too close to the
edge, interfering noise due to the air current
can occur.
Good starting position for live miking
applications. If the overhead microphones
are only used for picking up the cymbals,
unwanted signal portions can be attenuated
by high pass filtering.
16
Polar diagram
Pin assignment of XLR-3 connector
0
°
5
1
0
1
5
2
0
2
5
dB
30
°
60
°
90
°
30
°
60
°
90
°
12
0
°
1
50
°
1
80
°
1
50
°
12
0
°
2
000
H
z
4
000
H
z
8000
H
z
1
6000
H
z
12
5
H
z
2
50
H
z
500
H
z
1
000
H
z
0
12 3
12
3
++
12 3
XLR
+
XLRXLR
+
17
Specifications
Transducer principle pre-polarised
condenser microphone
Frequency response 20–20,000 Hz
Pick-up pattern cardioid
Phantom powering 48 V/2.2 mA
Sensitivity
(free field, no load at 1 kHz) 7 mV/Pa;
2.3 mV/Pa / 0.7 mV/Pa
(with pre-attenuation)
Equivalent noise level
A-weighted (DIN IEC 651) 19 dB
CCIR-weighted (CCIR 468-3) 30 dB
Pre-attenuation 0, -10, -20 dB
Bass filter linear
roll-off 130 Hz, 6 dB/oct.
cut-off 85 Hz, 18 dB/oct.
Max. sound pressure level 137/146/156 dB SPL
at 1 kHz
(depending on
pre-attenuation)
Nominal impedance 100 Ω
Min. terminating impedance 1 kΩ
Connector XLR-3
Dimensions Ø 24 mm,
length: 157 mm
Weight 198 g
(without clamp and cable)
18
Overview of microphone applications
Variant
Application
e901
e902
e904
e905
e906
e908B
e908D
e914
e935
e945
Vocals xx
Choirs x
Studio,
acoustic instruments
x x
Orchestra x
Brass / Saxophone x x x
Acoustic guitar x
Acoustic bass x
Guitar amplifiers x
Bass amplifiers x
Leslie xxxx
Piano, grand piano x
Kick drums xx
Snare drums xxx x
Rack toms xxx x
Floor toms xxxx x
Congas xxxx
Cymbals x
Percussion xxxxxx
Overheads x
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6
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