AEQ CM 179 - CONDENSER MICROPHONE
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3. DE-POP FILTER.
When using the microphone in near field or outdoors, the abilities of the incorporated acoustic
and electronic filters can be enhanced with the provided foam filter.
4. INDICATIONS FOR A CORRECT USAGE.
This microphone allows for the best possible near or far field sound capture, controlling the
close voice pops using the included de-pop filter as well as blows from wind instruments and
vibrations and external noises thanks to its suspension and high pass filter.
The CM 179 microphone has been developed so it can adapt to the most varied sound capture
conditions, such as the ones listed below:
Voice in radio, recording or dubbing studios
Its triple directivity diagram (omnidirectional, cardioid or bidirectional) make it suitable for
different studio types and number of people in it.
Cardioid is best suited for a single person, for example in radio self-control productions.
Bidirectional is, on the other hand, the best suited diagram for voice recording or dubbing from
two different people, one in front of the other. Omnidirectional diagram is good for recording or
voice dubbing from an undetermined number of people around the microphone.
The human voice is very complex and with a microphone with an ample response, we are able
to recognize the timbre or “signature” of each voice. There are syllables which reach the 8-16
kHz octave (including their harmonics), while others contain frequencies in 63 to 125 Hz octave.
These can cause unwanted effects of pops and wind that this microphone can correct.
Use it normally, without attenuation. If you notice buzzing background noise, air conditioning,
computers, vibrations or pops caused by the voice, try the 100 Hz filter.
Singing on stage and in studio
The CM 179 is particularly suitable for singing, since it is designed to be insensitive to vibrations
having a wide frequency response and switches to incorporate filters and attenuators. Use the
different positions of the switches to suit the situation.
Its 100 Hz high-pass filter allows it to be used in scenarios such as stages, where low frequency
vibrations may be present, which can distort the capture of bass sounds.
If the microphone is not shared by several singers, you’d better set it in cardioid diagram mode.
It is usual that buzzes and ambient noises are found in stages. Try the "-10dB"setting while
placing the microphone close to the mouth. The high-pass filter can also be tested in these
situations.
Tips for singing: Experienced singers will be able to get the most out of the microphone through
the practice and experimenting with it. In addition to practicing with switches positions,
depending on the position from where the singer is vocalising (directly or laterally to the
microphone) and the distance from mouth to microphone, it is possible to obtain variations in
sound that can be consciously practiced and improved.
Instruments
Its flat and extended frequency response allows for a perfect capture from any type of musical
instrument, specially wind, strings, charles and snares, boxes and drums.
Use your experience or obtain on-line guidance and consultation in regards to how to correctly
pick up the sound of your instrument, tips for the location and orientation of the microphone that
allows for the achievement of different effects of tonal balance. Note that if you place the
microphone near the instrument it may be advisable to use the attenuator.
