CARVIN CM87S User manual

CARVIN ENGINEERING DATA CM-87S Large Diaphragm Condenser Mic OPERATING MANUAL
Congratulations on your purchase of the CM-87S microphone.
This large diaphragm mic is a precision device that will pro-
vide accurate recordings of vocals and instruments. A power
supply, shockmount and cables are also included along with
an aluminum flight case. Please take the time to verify that
all components are included with your CM-87S microphone.
RECEIVING INSPECTION—read before getting started
INSPECT YOUR MIC FOR ANY DAMAGE which may have occurred during shipping. If any
damage is found, please notify the shipping company and CARVIN immediately.
SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to re-ship your
unit, always use the original carton and packing material. This will provide the best possi-
ble protection during shipment. CARVIN and the shipping company are not liable for any
damage caused by improper packing.
SAVE YOUR INVOICE. It will be required for warranty service if needed in the future.
RECORD THE SERIAL NUMBER on the enclosed warranty card or below on this manual for
your records. Keep your portion of the card and return the portion with your name and com-
ments to us.
MODEL CM-87S SPECIFICATIONS:
Freq. Range: 30Hz-20k Hz
Dynamic Range: 133 dB
Output Imp: 200 Ohms
Max SPL: 135dB (145dB with 10dB pad)
Pad Switch: 10dB
Low Cut Switch:
-6dB @ 80Hz
Shockmount: eliminates low freq. vibration &
handling noise (-72 dB below 40Hz)
Power Supply: 48V (Included)
Cable: 30 ft. Oxygen-free copper cable
Mic Dimensions: 7.5”L x 2.75”W
Mic Weight: 1.2 lbs
Case: Custom aluminum flight case
Flight Case Dim: 15.75” W x 11”D x 4.75”H
12340 World Trade Drive, San Diego, CA 92128
[phone]
www.carvin.com
GETTING STARTED QUICKLY
If you are like most people, you probably want to get started right away.
Great! You can read the rest of the manual later to learn the finer points
of recording with a condenser mic. In order to get started, you will need
your new CM-87S mic and XLR Mic Cable, CPS-48 phantom power
supply and a 120 V AC grounded power outlet. You will also need a micro-
phone stand to attach the Shockmount to hold your CM-87S mic. Other
equipment needed may include more XLR cables to connect to a mixer or
recording device.
1. Plug the CPS-48 phantom power supply into the proper AC voltage.
2. With the power off, connect the XLR mic cable to the MIC IN on the power
supply.
3. With the Shockmount connected to a mic stand, place your CM-87S mic
into the shockmount and connect the XLR mic cable to the CM-87S mic.
4. Next, you will need a second XLR cable (not included) to connect the
OUTPUT of the power supply to your input source (ie. mixer, multi-track
recorder etc...).
5. Once connected, you can turn the power supply ON (make sure all volume,
gain knobs, or faders on your input source are turned OFF).
6. Bring the input source’s volume or fader up to 0 dB. Speak into the mic
to test the level.
7. Turn the mixer’s gain up on this channel and stop just before the signal
peaks.
8. Check for transients that can cause the signal to peak by speaking or
singing at the loudest volume you will perform at and adjust the gain up
or down as necessary.
9. With the signal levels set, adjust any EQ that might be needed.
10. You are now ready to record with your CM-87S mic.
CHECK LIST OF PARTS
CM-87S microphone
48v phantom power supply
AC cable for power supply
XLR mic cable
Shockmount
Soft carry pouch for mic
Aluminum flight case
For your records, you may wish to record the following information.
Serial No._____________________ Invoice Date_______________
CM-87S

CM-87S CONSTRUCTION AND CARE
CM-87 Introduction:
The CM-87S is a studio quality, multi-purpose Large Diaphragm
Condenser microphone. It features a Gold Sputtered, 6 micron ele-
ment and premium, low noise electronics, all suspended in a
handsome, rock solid, machined casing. The CM-87S also features
a 10 dB pad switch for easy handling of really hot signals and a
low cut switch for reducing hum, rumble, wind and handling
noise. This versatile microphone was developed with the project
studio in mind; so it is equally adept at reproducing stunning vocal
performances as it is at capturing the subtlest nuances of a fine
acoustic guitar. And with a maximum SPL of 135dB (145 dB with
10dB pad switch engaged), the CM-87S is also an excellent instru-
ment and percussion microphone. You no longer have to own a
million dollar studio to get the sound the big boys get. The Carvin
CM-87S is your affordable ticket to awesome studio sound!
Construction and Shockmount:
The internally braced CM-87 capsule is precision mounted
behind a heavy mesh screen of perforated metal with large open-
ings that offers complete protection while maintaining total “acoustic
transparency”. Nestled below, is the low noise, class A circuitry
surrounded by the solid, machined outer shell. When used with
the low cut switch on along with the included Shockmount, low fre-
quency vibration and handling noise are virtually eliminated (-72
dB below 40Hz)!
Power Supply:
The CM-87S comes standard with the heavy duty CPS-48 phan-
tom power supply, ensuring you will never experience noise or dis-
tortion during loud dynamic passages due to insufficient current.
The power supply connects to the CM-87S conveniently via the
included XLR mic cable.
*Note: While the CM-87S will operate from any professional qual-
ity 48V phantom power supply, we recommend using the CPS-48
unless you are absolutely sure about the quality of an alternate phan-
tom power supply. The Carvin S/L mixing consoles will also pro-
vide the proper 48V phantom power and are designed to be used
with the CM-87S. Carvin is not responsible for damage to your
CM-87S caused by a non Carvin power supply.
Flight Case:
The CM-87S, shockmount, power supply and cables, all fit snugly
and safely in a high grade, aluminum alloy flight case so you know
your microphone and accessories are well protected between ses-
sions or during travel. Carvin recommends returning your CM-
87S to this case after each use.
Care and Feeding:
Condenser microphones do not like to be banged, dropped, tapped,
blown into, shaken or stirred. The gold sputtered element is very
thin and fragile and can easily be stretched or knocked out of align-
ment. This is true of all large diaphragm condensers. Be very care-
ful with your CM-87S! If you drop it from any distance, the resulting
damage will not be covered under your warranty.
Additionally, these mics don’t like moisture. It is always advis-
able to use a pop screen (Carvin part #WS87)when micing vocals
to avoid not only overly accentuated “P”, “B”, and “S” sounds, but
also to keep unwanted moisture off of the element. Over time, mois-
ture on the element can attract airborne dust and dirt particles and
gradually degrade the performance of your mic. Carvin advises that
the microphone be kept in its flight case at all times when not in
use. Take a few minutes after every session and put your mic away
properly to help ensure years of top notch performance. Additionally,
always make sure the silicone “moisture absorber” (little white packet
with crystals in it) is packed in the case with your microphone. This
will help to eliminate any moisture or humidity in the case during
storage. You can re-activate a saturated “moisture absorber” by
baking it in an oven at 250 degrees for about 30 minutes. The outer
shell of your mic can be cleaned with a soft damp cloth. Do not
use harsh detergents, solvents, or abrasive materials.
a) Shockmount
The shockmount will fit any standard mic stand. It is designed to hold the CM-
87S mic while reducing low frequency vibration and handling noise.
b) Low cut switch
The Low Cut switch helps eliminate boomy low end frequencies ( -6dB @ 80Hz)
c) 10dB pad switch
This switch changes the mic’s maximum Sound Pressure Level (SPL) of 135 dB
to 145 dB. Switch to an SPL of 145 dB when recording loud sources.
d) XLR cable connector
Connect only balanced XLR cables.
120V AC
c) 10 dB pa
c)
XLR mic cable
c)
XLR cable connects to
mixer or recording
device.
b) Low Cut
a) Shockmount

STUDIO SET UP
21
2
1
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
HI
MID
LOW
+
0
-
-
-
-
+
3-5
4-6
1
2
PRE
POST
LO
CUT
MID
SHIFT
010
5
050
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
010
5
010
5
010
5
PFL
MUTE
PEAK
C
LR
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6
5-6
AUX
1
2
PRE
POST
LO
CUT
MID
SHIFT
010
5
050
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
010
5
010
5
010
5
PFL
MUTE
PEAK
C
LR
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6
5-6
AUX
1
2
XLR Mic Cable
XLR
Mic
Input
TRS
Insert
XLR Cable
Insert Out Insert In
0
-30 +6
THRESHOLD RATIO
20
10 230
120
50 100
10 200
ATTACK
20
10 230
120
50
GATE
100
10 200
RELEASE
TH 36
BYPASS
INPUT
CLIP OUTPUT CLIP
CHANNEL 1
91215
0
5
10
OUTPUT
GATE
0
-30 +6
THRESHOLD RATIO
20
10 230
120
50 100
10 200
ATTACK
20
10 230
120
50
GATE
100
10 200
RELEASE
TH 36
BYPASS
INPUT
CLIP OUTPUT CLIP
CHANNEL 2
91215
0
5
10
OUTPUT
GATE PWR
ON
OFF
CGL200
Compressor
The illustration below shows the standard set up in a recording
studio. The shockmount should be set on a round or tripod base
mic stand. The CM-87S should always set in the shockmount to
eliminate any noise or vibrations from the floor or walls. The phan-
tom power supply should be connected to a 120 V AC outlet. Be
sure the power supply is properly grounded and never defeat the
ground on the AC plug. The XLR mic cables should be connected
to the MIC IN on the power supply and then connected to the CM-
87S mic. High quality XLR cables (like the one provided) should
always be used. The OUTPUT jack on the power supply will pass
the mic’s signal to the MIC input on a mixer. Always disable any
phantom power that may be present on the mixer as you will be
using an external source for phantom power.
Many professionals use a compressor/limiter when recording. They
are ideal for eliminating transient signals. Transients are those quick
changes in volume that can cause a performance to sound too loud
in some areas. A compressor/limiter will keep the signal at a con-
stant volume while limiting any peak signals. The result is a “hot”
and constant signal that is ideal for both vocal performances and
recording. The illustration below shows a typical set-up for insert-
ing a compressor/limiter.
With today’s high quality digital audio hardware, recording at home
has never been so widespread and affordable! When recording to
a digital or analog format of any kind, be sure to adjust your mixer
or input source to produce the strongest signal without clipping or
distorting. This will give you the best sounding recording.

CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
SAFETY INSTRUCTIONS (EUROPEAN)
The conductors in theAC power cord are colored in accordance with the following code.
GREEN & YELLOW—Earth BLUE—Neutral BROWN—Live
U.K. MAIN PLUG WARNING: Amolded main plug that has been cut off from the cord is
unsafe. NEVERUNDERANYCIRCUMSTANCESSHOULDYOU INSERTADAMAGED
OR CUT MAIN PLUG INTOAPOWER SOCKET.
IMPORTANT! FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:
WATER AND MOISTURE: Appliance should not be used near water (near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken
so that objects do not fall and liquids are not spilled into the enclosure through openings.
POWER SOURCES: The appliance should be connected to a power supply only of the type described
in the operating instructions or as marked on the appliance.
GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polar-
ization means of an appliance is not defeated.
POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely
to be walked on or pinched by items placed upon or against them, paying particular attention
to cords at plugs, convenience receptacles, and the point where they exit from the appliance.
SERVICING: The user should not attempt to service the appliance beyond that described in the
operating instructions. All other servicing should be referred to qualified service personnel.
FUSING: If your unit is equipped with a fuse receptacle, replace only with the same type fuse.
Refer to replacement text on the unit for correct fuse type.
This symbol is intended to
alert the user to the pres-
ence of uninsulated “dan-
gerous voltage” within the
product’s enclosure that may be of suf-
ficient magnitude to constitute a risk of
electric shock to persons.
This symbol is
intended to alert the
user to the presence of
important operating
and maintenance (servicing) instruc-
tions in the literature accompanying
the appliance.
LIMITED WARRANTY
Your Carvin product is guaranteed against failure for ONE YEAR unless otherwise stated. Carvin will
service and supply all parts at no charge to the customer providing the unit is under warranty. Shipping
costs are the responsibility of the customer. CARVIN DOES NOT PAY FOR PARTS OR SERVICING OTHER
THAN OUR OWN. A COPY OF THE ORIGINAL INVOICE IS REQUIRED TO VERIFY YOUR WARRANTY.
This warranty does not cover, and no liability is assumed, for damage due to: dropping, moisture damage,
accidents, abuse, natural disasters, loss of parts, lack of reasonable care, incorrect use, or failure to
follow instructions. This warranty is in lieu of all other warranties, expressed or implied. No repre-
sentative or person is authorized to represent or assume for Carvin any liability in connection with the
sale or servicing of Carvin products. CARVIN SHALL NOT BE LIABLE FOR INCIDENTAL OR CONSE-
QUENTIAL DAMAGES.
When RETURNING merchandise to the factory, you may call for a return authorization number. Describe
the problem in writing.
RECORDING TIPS
Lead Vocals
For micing vocals, the element should be close to the height
of the singer’s mouth while in a normal, comfortable singing posi-
tion, although, some vocalists prefer the microphone slightly ele-
vated. While proper mic positioning is important for good sound,
a relaxed, comfortable singer is more important, so position the
mic to the singer’s liking (within reason!). Typically 6 to 12 inches
away from the mic is ideal for lead vocals, but feel free to exper-
iment. Every mic has a “sweet spot” where the voice reproduc-
tion sounds best. That spot is unique for each voice! Experiment
with distances to arrive at the “sweet spot”. When getting in close
to the mic, remember to use a pop screen to prevent “popping”
your “P’s” and excessive moisture from hitting the mic element.
Background Vocals
If you want the feeling of distance or space, move the mic fur-
ther away. Just be aware that as you get further away, you may
need more gain to achieve the desired recording levels. And with
more gain comes the possibility of picking up unwanted back-
ground noise. When recording multiple vocalists on one mic,
test each person’s levels individually before recording them
together. If one vocalist is louder than the other, have that person
take one step back. Repeat this process until all vocalists can
be recorded at even levels with a single mic.
Recording Instruments
For instrument or percussion micing, there really is no right
or wrong placement except when you are recording multiple
instruments, where proper “close micing” techniques must be
used to prevent excessive “bleed-through” between instrument
tracks. Never be afraid to try various positions or angles. Feel
free to change the acoustic properties of the recording envi-
ronment by using sound absorbent panels and materials.
Additionally, try using multiple CM-87S’s at different placements
and distances. Example: When micing an electric guitar cabi-
net, try using one CM-87S up close (within several inches of the
speaker) and another CM-87S at a further distance as an “ambi-
ence” mic. You will achieve a totally different sound than with
one mic alone. Micing an acoustic guitar can be a whole art in
itself. Start out by placing the mic near the sound hole. Try
moving the mic closer to the bridge of the guitar for a brighter
sound and closer to the neck and sound hole to add low end
frequencies. Using a second mic at a distance can again give
you a totally different sound on tape. The different sound pos-
sibilities are limited only by your creativity and imagination!
6 to 12 "
24 to 48 "
LEAD VOCALS
BACKGROUND VOCALS
ACOUSTIC GUITAR