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

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

Outstandingly vivid and clear sound

Three-position sensitivity switch

Three-position bass roll-off/cut-off filter switch

Excellent directivity across the whole frequency range

High maximum sound pressure level

Wide frequency response

Delivery includes

914 microphone

yPouch

MZQ 800 microphone clamp

MZW 64 windshield

Instructions for use

yWarranty Certificate

Note:

The microphone head is not compatible with the K6

powering module.

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).

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

- 7

500

000

5000

0000

- 4

-1

- 4

-2

- 7

500

000

5000

0000

- 4

bass

- 4

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.

Polar diagram

Pin assignment of XLR-3 connector

000

8000

6000

500

000

12 3

XLR

XLRXLR

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)

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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