Crown PZM-10 User guide

127018-1
7/00
Crown International, Inc
P.O. Box 1000, Elkhart, Indiana 46515-1000
[phone] Fax [phone]
www.crownaudio.com
© 2000 Crown International, All rights
reserved PZM®, PCC®, SASS®and
DIFFEROID®,areregisteredtrademarksof
CrownInternational,Inc.Alsoexported
as Amcron®
PZM, PCC, SASS AND BOUNDARIES

Contents
Background toboundarymicrophones 1
Howtheboundarymicrophoneworks 2
ThePCCmicrophone 3
Boundarymicrophonetechniquesforrecording 4
Boundarymicrophonetechniquesforsound reinforcement 8
PZM boundaries 9
TheSASSPZMstereo microphone 17
HowtousetheSASSmicrophone 20
21
Fig.60
Moving vehicles
(car hood, handlebars)
We recommendthat you devise a shock-mount system
to be used under the microphone.Alsobe sure to put
on the windscreen,and enable the low-cut switch(or
use low-cut filters in your mixer).
Electronic News Gathering (E.N.G.)
You can often record an announcer and ambience with
the SASSalone,without an extra handheld orlavalier
mic onthe announcer.If the ambient noise level istoo
high,use a mixerto blend a close-upmicrophone
(pannedto center)with the SASS.
The SASS will give a slight but not noticeable boostto
the appropriate side if the talent moves away from frame
center.IftheSASSiscameramounted,usethewindscreen
tosubduewindnoisecausedbycameramovement.
Because of its light weight,the SASS can be mounted
on afishpole,floor stand,boom stand,or tripod,
in addition to the handgrip.
Samples and sound effects
If you sample a sound source in a particular off-center
position,the SASS will accurately reproduce the image
location.Recorded ambience will sharpen theimage,
but isnotnecessary.
If you record ambience along with the sample,the ambi-
encewill be reproduced whenever the sample isplayed.
So you may want to make several samples of one source
at different distances to include the range of added
reverberance or ambience.
Suppose you’re samplingin stereo and pickingup ambi-
ence.If the sample is pitch-shifted,the direction of the
imagesandperceivedsizeoftheroomwillbeaffectedby
mostpitch-changingalgorithms.Youcanminimizethese
effectsbysamplingatintervalsofone-thirdoctaveorless.
When looping,try to controlthe room ambience so itis
consistentbefore and after the sample (unless reverber-
ant decayis desired aspart of the sample).
When recording a moving sample or effect,experiment
withthe distance between the microphone and the clos-
est pass of the sound source.The closerthe SASS is to
the path of the subject,the more rapidly the image will
pass the center point (almost hopping from one channel
to the other).To achieve a smooth side-to-side move-
ment,you may needto increase the distance.
CHOOSING THE RIGHT CROWN BOUNDARY MICROPHONE
Application Suggested Model
Recording PZM-30D Rugged,usewithdetachablecable.
PZM-6D Inconspicuous,permanentlyattachedcable.
MultipleBoundaryRecording/P.A. PZM-6D Unscrewcantileverfromplate.
StereoRecording SASS-P MK II StereoPZMmicrophone.
StageFloor PCC-160
ConferenceTable PCC-170 Supercardioid.
PCC-170SW Supercardioidwithpush on/offmembraneswitch.
PCC-130 Smallcardioid.
PCC-130SW Smallcardioidwithpushon/offmembraneswitch.
MiniBoundaryMicrophones :Verysmallmicswithahalf-supercardioidpattern.
Fivemodelsareavailable:
ModelsMB-1,MB-2,andMB-4Erequirean MB-1:Plugsintoabrasscupinthetable.
MB-100orMB-200interface.TheMB-200 MB-2:Plugsintoajackinthetable.
interfaceallowsremotesensing ofswitch MB-3:Tubular;mountsinceiling,wallortable.
closure,soitcanbeusedwithavideoswitcher. MB-4:Fortemporaryuse.HasathincablewithXLRconnector.
MB-4E:Lowestcost.Cablefitsthroughsmallholeintable.
PianoSoundReinforcement PZM-30D,PZM-6D or PCC-160 onundersideoflid.
Ambience PZM-30D orPZM-6D onwalls.
Security/Surveillance PZM-11,PZM-11LL,PZM-10,PZM-10LL

In live-to-2-trackrecording,we recommend that the
final placement decisions be made while monitoring on
loudspeakers for more-accurate imaging.
If the correctly monitored stereo spread isexcessive
(because of close mic placement),run the SASS signals
through a stereo mixer with pan pots,and pan the two
channels toward center until the stereo spreadis correct.
This can be done during recording or post-production.
Fig.58
Center sound source too close to
SASS:mic capsules can't“hear”it,
because its sound is blocked.Re-
sult:weak center image.
CentersoundsourcefarfromSASS:
bothmiccapsuleshearit.Results:
strong center image.
Fig.59
20
mics have weakdeep bass.The SASS does nothave this
problem because it is not directional atlowfrequencies.
It has excellent bass response extending to 20 Hz.
Simple to Use
Mid-side stereo microphones require a matrix box be-
tween the microphone and recorder.This box converts
the mid and side signals from the microphone to left
and right signals for stereo recording.The SASS already
hasleftandrightoutputs,soitneedsnoin-linematrixbox.
It’s easyto tell where to aim the SASS by looking atit.
In contrast,some stereo microphones are difficult to
aim properly.
Excellent Performance
The SASS has very wide-range,smooth frequency
response (20 Hz–18 kHz),and very low pickup of
mechanicalvibrations and wind noise.
Summary
The SASS is a stereo microphone using PZM® technol-
ogy.The unit provides excellent stereo imaging,hasa
natural tonal balance,ismono-compatible,iseasyto
use,and costs less than the competition.It comeswith
a carrying case and a full line of accessories.
HOW TO USE THE SASS
Do not place the SASS closer than 3 feet from the
sound source,or the centerimage will be weak or
muffled (Fig.58).
Large musical ensembles (orchestra,
band, choir, pipe organ)
Place the SASS 4 to 15 feet from the front row of
musicians.Angleitdown so that itwill be aimed at the
performers when raised,and raise it about 15 feethigh
on amicrophone stand (Fig.59).Closer placement to
the performers will sound more edgy,detailed,and dry:
farther placement will sound more distant,blended and
reverberant.Try to find a spot where you heara pleasing
balance betweenthe direct sound from the ensemble
and the hall ambience.
Because the SASS is quite sensitive to the sides aswell
as the front,closer placement will notbe asdry as with
directional microphones.Hence,the SASS canbe placed
into an ensemble farther than is ordinarily possible,
providing greater detailand spread,if that is desired,
withoutfeelingforced or unnatural.The centerof the
sound image and the hall reverberation are still retained.
If you are recordinga choir that is behind an orchestra,
experiment with the stand heightto find the best
balance betweenthe two sources.The stringsproject up-
ward while the choir projectsforward,so you might find
a better balance at,say,9 feet high rather than 15 feet.
Small musical ensemble or soloist
(quartet, small combo, background
harmony vocals, solo piano, harp,
or guitar)
Place the SASS 3 to 8 feet away at ear height.Move closer
for less reverb andnoise,farther formore hall acoustics.
For a grand piano,place the SASS in-line withthe lid.
Placement near the hammers sounds more trebly; place-
ment near the tail sounds more bassy.
Drum set
See Fig.60.Place the SASS above the level of the snare
drum,below the cymbals,aiming at the snare drum
about 3 feet away,midway between the mountedtom
and floor tom.Youmay needto boost afewdB around
10 kHz - 15 kHz.Add another microphone of your
choice in the kick drum.The SASS alsoworks well as
an overhead mic.
INTRODUCTION
A boundary microphone is a miniature microphone
designedto be used ona surface such as apiano lid,
wall,stage floor,table,or panel.Mounting aminiature
mic ona surface gives several benefits:
•A clearer,more natural sound quality
• Extrasensitivity and lowernoise
• Consistent tone qualityanywhere around the
microphone
• Natural-soundingpickupof room reverberation
Crownboundarymicrophonesinclude the PZM,PCC,
MB,and SASS series microphones.This guide explains
howthey work and how to use them.For information
on the CM,GLM,and LMmodels,please see theCrown
MicrophoneApplicationGuide.
BACKGROUND
Inmanyrecordingandreinforcement applications,
the sound engineerisforced to place microphonesnear
hard reflective surfaces.Some situations where this
might occurare recording an instrument surrounded
byreflective baffles,reinforcing drama or opera with the
microphonesnear the stage floor,or recordinga piano
withthe microphone close to the open lid.
When a microphone isplaced near a reflective surface,
sound travels to the microphone via two paths: (1) di-
rectlyfrom the sound source to the microphone,and
(2) reflected off the surface (as in Fig.1-A).Note that
the reflected sound travels alonger paththan the direct
sound,so the reflected sound is delayed relative to the
directsound.The direct and delayed sounds combine
at the microphone diaphragm.
All frequencies in the reflectedsound are delayed by the
same time.Havingthe same time delayfor all frequen-
ciescreatesdifferentphase delays foreachfrequency,
because different frequencies have different wave-
lengths.For example,a time delay of 1 millisecond
causes a 360-degree phrase shift for a 1000-Hz wave,
but only a180-degreephase shift for a 500-Hz wave.
Fig.2 illustratesthispoint.
At frequencies where the direct and delayed sounds are
in-phase (coherent),the signals add together,doubling
the pressure and boosting the amplitude 6 dB.At fre-
quencies where the direct and delayed signals are out-
of-phase,the signals cancel eachother,creating a dip
ornotch in the response.There results a series of peaks
and dips in the net frequencyresponse calleda comb-
filter effect ,so named because the response looks like
the teeth of a comb.(Fig.1-B).
This bumpyfrequencyresponse colors the tonal repro-
ductions,giving an unnatural sound.To solve thisprob-
lem,we need to shorten the delayof the reflected sound
so thatit arrives at the microphone atthe same time the
directsound does.
If the microphone is placed on the reflective surface (as
in Fig.3),the direct and reflectedsound paths become
nearlyequal.There isstill ashort delay in the reflected
sound because the center of the microphone diaphragm
(where the two sound paths combine) is slightly above
the surface.Consequently,the highfrequencies may be
cancelled,giving adull sound quality.
1
Fig.2 -Example ofwave addition and
cancellation at two differentfrequencies.
Fig.1

HOW THE BOUNDARY
MIC WORKS
Byorientingthe diaphragm parallel withthe boundary
(as in Fig.4),the diaphragm can be placed asclose to
the boundaryas desired.Then the direct and reflected
waves arrive simultaneouslyat the microphone sound
entry(the slit between the microphone diaphragm and
the boundary).Any phase cancellationsare moved out-
side the audible band,resultingina smooth frequency
response.
response isnotseverely degraded.
The Pressure Zone can be defined another way: The
Pressure Zone is the distance from the boundary that
the microphone diaphragm must be placed toachieve
the desired high-frequency response.The closer the
diaphragm is placed tothe boundary(uptoa point),
the more extended is the high-frequency response.
Let’s show some examples.
For a frequencyresponse down a maximum of 6 dB
at 20 kHz,the mic-to-boundary spacing should be .11."
Or you could say the Pressure Zone is.11" thick.This
spacingcorrespondsto1
⁄6wavelengthat20 kHz.
For a response down 3 dB maximum at 20 kHz,the
spacing should be .085" (1
⁄8wavelengthat20 kHz).
For a response down 1 dB maximum at 20 kHz,the
spacing should be .052" (1⁄13 wavelengthat20 kHz).
Note that the thickness of the Pressure Zone is an arbi-
trarynumberdependingonfrequency.For example,
the direct and reflected waves of a 100-Hztone are
effectively in-phase within a Pressure Zone 10" thick.
The Crown PZMmicrophone-to-boundary spacing
isonly.020",which relates to 1 dB down at52 kHz.
Pressure doubling
Asstated earlier,comb-filteringis eliminated when the
directand reflected waves add together in-phase.There
is another benefit: the sound pressure doubles,givinga
6 dB increase in acoustic level at the microphone.Thus
the effective microphone sensitivity increases 6 dB,and
the signal-to-noise ratio also increases 6 dB.
Consistent tonal reproduction
independent of source height
The microphoneplacements shown in Figs.1 and 3
cause another probleminaddition to rough response.
Asthe sound source moves up or down relative to the
surface,the reflected path length changes,which varies
the comb-filter notch frequencies.Consequently,the ef-
fective frequency response changes as the source moves.
Butwith the PZM,the reflected path lengthstays equal
to the direct path length,regardless of the sound-source
position.There is no change in tonequality as the
source moves.
Lack of off-axis coloration
Yetanotherproblemoccurswithconventionalmicro-
phones:off-axiscoloration.Whileamicrophonemayhave
aflatresponsetosoundsarrivingfromstraightahead
(on-axis),itoftenhasarolled-offorcoloredresponseto
soundsarrivingfromotherdirections(off-axis).
That fault is mainly due to the size of the microphone
and itsforward orientation.When sound strikes the mi-
crophone diaphragm on-axis,a pressure boost occurs at
The technique of mounting a microphone in this man-
ner is called the Pressure RecordingProcessTM (invented
byEd Long and RonWickersham).Theydeveloped the
first microphone to use this process.The first manufac-
tured microphone using the principle was the Pressure
ZoneMicrophone®(developed by KenWahrenbrock).
PZM®s are now manufactured by Crown International,
the first company licensed tothe build microphones
using the Pressure Recording Process.
The Pressure Zone is the region next to the boundary
where the direct and reflected waves are in-phase (or
nearlyso).There may be a slightphase shift between
the direct and reflected waves,as long as the frequency
2
Fig.3-Conventionalmicrophoneonfloorreceiving
directsoundandslightly delayedreflectedsound.
Fig.4
How the SASS Works
Back to the SASS.It uses two small microphones spaced
a few inches apart.Eachmicrophone is on a surface that
blocks sound from the rear,and these surfacesare
angledapart (Fig.55).In other words,the surfaces make
the microphones directional.So the SASS is like a near-
coincident pair,in which two directional micsare angled
apart and spaced horizontally afewinches.
19
Fig.55–PartsofSASS
The surfacesmake the microphonesdirectional only at
mid-to-high frequencies.At lowfrequencies,the micro-
phonespickupall around them—they are omnidirec-
tional.
The SASS produces stereo in differentways at differ-
entfrequencies.Atlow frequencies,the SASS actslike
a spaced pair,producing time differences between
channelsto makeastereoeffect.Athighfrequencies,
the SASSacts like coincident pair,producing mostly
loudness differences between channels to make a stereo
effect.At mid-frequencies,the SASSacts like a near-
coincident pair,using both loudness andtime differ-
ences to make stereo.
This is the same way the human hearing systemworks.
Our earsare omnidirectional at low frequencies,direc-
tional athigh frequencies (because the head blocks
sounds),and are spaced apart afew inches.
Since the SASS hears sounds the same wayour ears do,
itproducesvery natural stereo with easy-to-localize im-
ages.It also givesa pleasingsense of spaciousness,a
sense of the environmentin which the sound was re-
corded.Boththese attributes can be heard over loud-
speakersorover headphones.
The coincident-pairmethod gives a narrow stereo
spread over headphones.The spaced-pair method
makes imagesthat are poorly focused orhard-to-local-
ize when heard with speakers(Fig.56).The SASS has
neither of these problems.It gives accurate,wide stereo
overheadphones,and makesimages that are sharpand
correctlyplacedwhenheardwithspeakersorheadphones.
Fig.56
The SASS Is Mono Compatible
It’s important for stereo recordingsto be mono compat-
ible.Thatis,the tone qualitymust be the same whether
the program is heard in mono or stereo.
With spaced-pair or near-coincidentrecordings,the
microphonesare spaced apart.Sound arrives at the two
microphonesat different times.Thus,the left and right
signalsare in phase at some frequencies,and out-of-
phase at other frequencies.If the two channels are com-
bined for mono listening,the out-of-phase frequencies
cancel out.This makes dipsin the frequency response
(Fig.57).The non-flat response gives a filtered,colored
tone qualityto whatever is recorded.
Fig.57
Recordings made with the SASS do nothave this prob-
lem.That’s because it’s made with a special block of
dense foam between the mic capsules.This foam barrier
absorbs sound.Itprevents sound from the rightside
from reaching the leftmicrophone,and vice versa.Thus,
the signal ismuchlouder in one channel than the other.
For a phase cancellation to be completewhentwo chan-
nels are combined to mono,the levels in both channels
must be aboutthe same.Butthe levels in bothchannels
are different in the SASS (due to the foam barrier be-
tween capsules),so phase cancellation in mono isrela-
tively slight (Fig.57).Thus the tone qualitystaysthe
same in stereo ormono withthe SASS.
Better Bass Response
All directional microphones have reduced output in the
deepbass.Thus,stereo methodsthat use directional

frequencies where the wavelength is comparable to
the microphone diameter (usually above about 10 kHz).
Thisphenomenoniscalleddiffraction. Soundsap-
proaching the microphonefrom the sides or rear,
however,do not experience apressure boost at high
frequencies.Consequently,the high-frequencyresponse
is greater on-axis than off-axis.The frequency response
varies with the position of the sound source.
Since the PZM capsule is very small,and because all
sound entersthe capsule through a tiny,radially sym-
metric slit,the response staysconstant regardlessof the
angle atwhichsound approaches the microphone.The
effective frequencyresponse is the same for sounds
from the front as it isfor soundsfrom other directions.
In otherwords,there islittle or no off-axiscoloration
withthe PZM.The reproduced tone quality doesn’t
change when the sound source moves.
Asfurther benefit,the PZM hasan identicalfrequency
response for random-incidence sound as it has for di-
rectsound.Direct sound is sound travelingdirectly
from the source to the microphone;randomincidence
sound is sound arriving from all directions randomly.
An example of random-incidence sound is ambience
orreverberation –sounds reflected off the walls,ceiling,
and floorof the recordingenvironment.
With most conventional microphones,the response
to reverberant,random-incidence sound is rolled off in
the high frequencies compared to the response to direct
sound.The direct sound may be reproduced accurately,
but the reproduced reverberation maysound duller
thanin real life.
This fact leads to some problemsin recording classical
music withthe microphones placed far enoughaway to
pick up concert-hall ambience.The farther from the
sound source the microphone is placed,the more rever-
berantisthe sound pickup,and so the duller the sound
is.The effective microphone frequencyresponse may
become duller (weaker in the high frequencies) as the
microphone is placed farther from the sound source.
Thisdoesn’t occur with the PZM whenit’s used on the
floor.The effective response stays the same regardless
of the mic-to-source distance.The response to ambient
sound (reverberation) is justas accurate as the response
to the direct sound from the source.As a result,the total
reproduction is brighterand clearer.
Reach
“Reach”isthe abilityto pick upquiet distant sounds
clearly.“Clearly”means with a high signal-to-noise ra-
tio,a wide smooth frequencyresponse,and a highratio
of directsound to reverberantsound.
Asdescribedearlier;thePZMhasseveralperformanceat-
tributesthatcontributetoexcellentreach.Thesignal-to-
noiseratioishighbecausethesignalsensitivityisboosted
6dBbytheon-surfacemounting.Thefrequencyresponse
iswideandsmoothbecausecombfilteringiseliminated,
andbecausereverberantsoundispickedupwithafull
high-frequencyresponse.Thedirect-to-reverberantsound
ratioishighbecausethedirectsoundisboosted6dBnear
thesurface,whilethereverberantsound,beingincoherent,
isboostedonlyabout3dB.
IfthePZMelementismountedinacorner,thedirectsound
isboosted18dB,whilereverberantsoundisboostedonly
9dB.ThisgivesthePZMa9dBadvantageoveraconven-
tionalomnidirectionalmicrophoneintheratioofdirect-to-
reverberantsound.Inotherwords,distantsourcessound
closerandclearerwiththePZMthantheydowithacon-
ventionalomnidirectionalmicrophone.
Low vibration sensitivity
The low mass and high damping of the PZM diaphragm
make itrelativelyinsensitive to mechanical vibrations
such as table andfloor thumpsand clothing noise.
The only pickupof thesessoundsis acoustic pickup
through the air,not mechanical pickup through the
microphone housing.
Small size
In addition to the acoustic benefitsof the PZM,there are
psychologicalbenefits related to its low-profiledesign.
Its inconspicuous appearance reduces“mic fright.”Since
the PZM does notpoint at the performers,they may feel
more relaxed in not having to aim their instrumentsat
the microphone.
PZMs can be hidden intheatre sets.InTV-studio appli-
cations,the PZMpracticallydisappearson-camera.
PZMs reduce clutter on the conference tables and lec-
terns,givingthe feeling that no microphones are in use.
THE PCC
The Phase CoherentCardioid (PCC) is a surface-
mounted supercardioid microphone which provides
the same benefits previously mentioned for thePZM.
Unlike the PZM,however,the PCC uses a subminiature
supercardioid mic capsule.Its directional polar pattern
improvesgain-before-feedback,reduces unwanted room
noise and acoustics,and rejects sound from the rear.
Fig.5 showsthe difference inconstruction and polar
patternsof the PZM and PCC.
In the Crown PCC,the microphone diaphragm is small
enough so that any phase cancellations are above the
audible range (Fig.6).This results in a wide,smooth fre-
quency response free of phaseinterference.In contrast,
the mic capsules inconventional microphonesare rela-
tively large.As aresult,reflections are delayed enough to
cancel highfrequencies,resultingin dull sound (Fig.3).
3

BOUNDARY MICROPHONE
TECHNIQUES FOR RECORDING
Before placingmicrophones,workon the“live”sound
of the instrument or ensemble to be recorded.Do what
you can to improve its sound in the studio.
To determine a good starting microphone position,close
one ear with your finger; listen to the instrumentwith
the other,and move around untilyoufind a spot that
sounds good.Putthe PZM there,or put iton the floor
ortable at that distance.
Moving the microphone around the instrument will
varythe tone quality,because an instrumentradiates a
different spectrum in everydirection.Place the PZM to
get the desired tone quality,then use equalization only
if necessary.Note thatthe response of the PZM does not
change withthe angle of incoming sound,but the spec-
trum of the instrument does change depending on how
itis aimed at the PZM.
To reduce pickup of acoustics,leakage from other in-
struments and background noise,move the PZM closer
to the sound source.Mike only ascloseas necessary,
since too-close placement may result in an unnatural
tonalbalance.Move the PZM farther from the source
to add ambience or“artistic leakage”to the recording.
To further reduce pickup of unwanted sounds,mount
the PZM on alarge baffle or acoustic panel placed be-
tween the PZM and the offending noise source.
Use the smallest number of microphonesthat provide
the desired sound; use as fewas necessary.Sometimes
this can be done by coveringseveral sound sources with
a single microphone.The wide polar pattern of the PZM
allowsyouto pickupseveralinstrumentsorvocalistson
a single microphone with equal fidelity.
Follow the 3:1 rule:When multiple microphones are
mixed to the same channel,the distance between the
microphonesshould be at least three times the mic-
to-source distance.This procedure reduces phase inter-
ference between the microphones.Forexample,if two
microphonesare eachplaced 2 feet from the instruments
they cover,the mics should be at least 6 feetapart.
PZMs used in multiple-microphone applications may
pick up alot of leakage (“off-mic”sounds from other in-
struments).This leakage usually sounds good,however,
owing to the PZM’s uncolored off-axis response.Artistic
usage of leakage can add pleasing“liveliness”tothe re-
cording.
When a PZM is mounted on a wall,the wall becomes
a part of the microphone.When a PZM is mounted in
a corner,then all three walls become part of the micro-
phone.The Pressure Zonesof all the walls combine to
reinforce the sound pickup.Use this fact to your advan-
tage bymounting the PZM capsule at the junction of
multiple boundaries wheneverpossible.
Fig.5
4
Technically,the PCC is not a Pressure Zone Microphone.
The diaphragm of a PZM is parallelto the boundary;
the diaphragm of the PCC is perpendicular to the
boundary.Unlike a PZM,the PCC“aims”along the
plane on which it is mounted.In other words,the main
pickup axisisparallel with the plane.
Because of its supercardioid polar pattern,the PCChas
nearlya6 dB higherdirect-to-reverberation ratio than
the PZM; consequently,distantsources sound closer and
clearer withthe PCC than withthe PZM.
Fig.6

The followingare some guidelinesfor PZM placement
in variousrecording applications.Many were provided
byusers.Although these techniqueshave worked well
in many situations,theyare just suggestions.
Acoustic guitar, mandolin, dobro,
banjo:
•On panel in front,about2 feetaway,guitar height.
• On panelin frontand overhead to avoid interference
withaudience viewing.
•On floor(forsoloist).
String section:
• On panel above and in front of the entire section.
•On panel midwaybetween twoinstruments,about
6feet high.
Fiddle or Violin:
•On panel in frontoroverhead.
• On music stand.
Cello or acoustic bass:
• On panelonfloor,in front,tilted toward performer.
• On panelin frontand above.
•On floor(forsoloist).
String quartet:
• Spaced pair on floor about 3 to6 feet apart.
• Spaced pair on panels in frontand above,spaced
3to 6 feet apart.
Harp:
•On panel about 21 ⁄2feet away,aiming toward treble
partof sound board.
Sax, flute, clarinet:
• On panelin frontand slightly above.
• On music stand.
Horns, trumpet, cornet, trombone:
• On wall,on hard-surface gobo,or on control-room
window.Performersplay to the wall or goboa few feet
away.Since their sound bounces off the wall back to
them,they canhear eachotherwellenough to produce
a natural acoustic balance.
•On panel infrontof andbetweeneverytwoplayers,
1to 2 feet away.
• On music stand.
•Tuba–onpanel overhead.
Grand Piano:
• Tape a PZM to the underside of the lid in the middle
(Fig.7).Putthe lid on the longstickfor bestsound
quality.To reduce leakage andfeedback,put the lid on
the shortstick orclose the lid and coverthe piano with
aheavyblanket.
• For stereo,use two PZMs taped underthe lid –one
overthe treble strings near the hammers,one over the
bass strings well away from the hammers.Microphone
placement close to the hammers emphasizes attack;
placement farfrom the hammers yields more tone.
• To pick up the piano and room ambience with a single
microphone,place aPZM on a panel about6 to 8 feet
from the piano,4 feet high.Putthe lid on thelongstick,
and face the panel at the piano with the panel perpen-
dicular to the lid.
• To add ambience to a close-mikedpiano,mixin aPZM
ortwo placed on awall far from the piano.
•Forsingerswhoaccompany themselves onapiano,
mounttwo PZMs on opposite sidesof a panel.Place the
panel about where the music rackwould be.For stereo,
use alonger panelwith two microphones on each side
of the panel.
Amplifier/speaker for electric guitar,
piano, bass:
•On panelin frontof amp.
•On floorafewfeetinfrontof amp.Foraninteresting
coloration,add a panel afew feetbehind the micro-
phone.
• Inside the cabinet.
Leslie organ cabinet:
• Two PZMs on either side of the rotating horn,inside the
topof the cabinet.Place another PZM inside the bot-
tom cabinet.
Drum set:
• On panelorhard gobo,1 to 2feet in frontof set,just
above the level of the tom-toms.Use two microphones
3 feet apart for stereo.The drummer can balance the
sound of the kit as he or she plays.Also hang a small-
plate PZM verticallyin the kickdrum facing the beater
head,withapilloworblanketpressingagainstthe
beater head.The high sound pressure level will not
cause distortion in the PZM’s signal.
• Try twoPZMs overhead,each mounted on a 1-foot
square panel,angled to form a“V,”withthe point of the
“V”aimingdown.Omit the panel for cymbal miking.
• Two PZMs on a hard floor,about2 feetto the left and
right of the drummer.
• Tape a PZM to a gauze pad and tape the pad to the kick
drum beater head near the edge.This mic will also pick
up the snare drum.
• See percussion below.
Fig.7
5

Percussion:
• Use a PZM strapped to the chest of the player.The mi-
crophone is carried by the percussionist as he orshe
movesfrom instrument to instrument.
Xylophone, marimba, vibraphone:
• Use two PZMsabove instrument,over bass and treble
sides,with or without panels.
Lead Vocal:
• In the studio,mount a PZM on a wall,control-room
window or panel a foot in front of the performer.The
panel can be used in place of a music stand to holdthe
lyric sheet.Use the supplied foam windscreen to pre-
vent“popping”sounds from the letter“P.”
• To reduce leakage in the vocal mic,(1) overdub the vo-
cal,(2)use gobos,or (3)use awell-damped isolation
booth withone hard wall tomountthe PZM on.Note:
the PZM does nothave proximityeffect (up-close bass
boost).Use console EQ to add extra warmth if neces-
sary.
Background harmony vocals:
•On awallorpanel.
• Use one or two on both sides of a gobo,with singers
surrounding the gobo.
Combos, small groups:
For small musical groupswith a good naturalacoustic
blend,suchas bluegrass,old-time,ethnic groups,blues
groups,orbarbershopquartets.
•On floor–twofor stereoabout 3to 5 feet apart(Fig.8).
• On panels infront,or on panels on the floor,angled
toward performers.
Drama, theatre, opera:
Fig.8
Fig.9
For maximum clarityand maximum gain before feed-
back,turn up only the microphone nearest the person
talking.
Showthe performers and the custodian where the PCCs
are located so theyaren’t kicked ormopped.
To reduce pickup of the pit orchestra,put a 2' x2' piece
of 4" thick Sonex foam about 1" behind each PCC.
The excellent“reach”of the PCC provides clearpickup
of rear-stage actionin most cases.Butif you needextra
reinforcement,place PZMs on the rear wall,on panels
overhead,ona tableunder a table cloth,behind posts,
undereaves,oronscenery.
Orchestra Pit:
•Tape two PZMsto the wall on either side of the
conductor’spodium,about 20feet apart,facing
eachsection of the orchestra.
• Use a separate PZM on a panel for each section of
the orchestra.
Orchestra, marching band, jazz
ensemble, pipe organ:
These large sound sources typically are recorded at
adistance,usingtwomicrophonesforstereo pickup.
• Mount aPZM 6 inches from the edge of a 2-foot square
panel.Mountanother PZM similarlyon another panel.
Tape together the panel edgesnearest the micro-
phones,forminga“V.”Aim the pointof the“V”at the
center of the sound source.Angle the panels about
70 degreesapart (asin Fig.10).Thisassembly is called
a PZM wedge.
6
• Try one to three PCCs acrossthe front edge of the
stage,about 1 foot from the edge of the stage (Fig.9).
One ortwo PCCs are usually sufficient for small
stages,and they clearly pick up stage action for dress-
ing room cues.Place two PCCs about 20 feet apart;
place three PCCs about 15 feetapart.
Fig.10

The wedge can be suspended,or can be placed on edge
on the floor,with the PZMsat the junction of the floor
and the vertical panels (as in Fig.11).
Recording a conference:
Note: Thesesuggestions are for recording,not for
teleconferencing sound reinforcement.For teleconfer-
encingsound reinforcementapplications,see the Crown
Microphone Application Guide for Teleconferencing
andDistanceLearning.
For maximum clarity,hold the conference in an acousti-
cally“dead”room with carpeting,drapes,and acoustic-
tile ceiling.
• Laya single PZM in the middle of the table(Fig.12).
• Place two panel-mounted PZMs about3 to 12 feet
apart,14 feet high,and 5 to 20 feetfrom the first row
of players.Place the microphonesfarther apartto
widen the stereo spread,closer together tonarrow
the spread.
•Fornoncritical documentaryrecordings,PZMscan
be taped to the proscenium arch,the backstage wall,
orthe floor in front of the ensemble.
Choirs:
• Try two PZMs onpanels,5 feet above and3 to 15 feet
in front of the choir.Coverage is wide and the re-
sponse is uncolored off-axis.
• For small choirs singing in an open area,place PZMs
orPCCs on the floorin front of the group.
• For choirs seated on oneside of a churchchancel or
small chapel facingthe other side of the chancel or
chapel,mount a PZM on the wall opposite the choir.
Ambience:
• One ortwo PZMs on the walls give an uncolored
sound.
• One ortwo PZMs on the walls of an echochamber
provide ambientrichness and naturalness.
Audience:
• On panelssuspendedover left and right sides of audi-
ence.
• Two PZMs on the front face of the stage about 4 feet
apart.
Altars:
• Place a PZM or PCC on the altar table (perhaps under
the table cloth).
Fig.12
• On alongtable,use one PZM inthe middle of every
4 to 6 people.No person should be more than 3 feet
from the nearest microphone.
• For permanentinstallations,use the PZM-20R,a
recessed microphone withall electronicsand cabling
under the table.Before installing it,firstcheck thatthe
pickup will be adequate bytesting aregularPZM lying
on the table.
•TryaPCC-170,aPCC-130oraMiniBoundarymic
at arm’s length for everyone or two people.
• For more clarity,feed the PCCs intoan automatic
mixer.
• If table placement is undesirable,try mounting aPZM
on the ceiling.
• Remove the plate from a PZM-6D.Install the capsule/
holder in an upper corner of the room as in Fig.13.
This arrangement increases microphone outputby
12 dB and givessurprisingly clear reproduction.Large
rooms mayrequire such a pickup in all fourcorners.
7
Fig.11 -Near-coincident-stereo arrangement on floor
Fig.13

Security/Surveillance:
• Try the ceilingorcorner placements mentioned
above.
• Use a PZM-10,PZM-10LL,PZM-11,or PZM-11LL.
The PZM-10 flush-mounts in a ceiling or wall.The
PZM-11 mountsin an electrical outletbox.
Lectern:
• Place a PCC on the lectern shelf top,outside of any
cavities (Fig.14).If the lectern has araised edge,place
the PCC at least twice as farfrom the edge as the edge
is high.Set the BASS TILT switchto FLATorBOOST,
accordingtoyourpreference.
• For lecternswithraised edges,you can modifyyour
PZM as follows:remove the capsule holder byremov-
ing the twoscrewson the underside of the plate.Save
the screws and plate for possible reassembly.Mount
the capsule holder inthe corner of the recess,with the
holder pointingintothe corner (as in Fig.16).This
configuration makes the pickup more directional but
allowslesstalkerwandering.
Fig.15 shows how the frequency response of the PCC
varies depending on where it is placed.
Fig.14
Note: If you need toreturn the PZM for service,reat-
tach the capsule/holder to the plate.Theplate contains
the identification number necessary for warranty ser-
vice.
Fig.15
Courtrooms:
•A PCC on the bench or witness stand can be perma-
nently mounted and permits freedom of movement
withoutlost speech.It provides excellentclarity and
intelligibility.It alsois farless intimidatingto the wit-
ness thantraditionalmicrophones.
Sport events:
Basketball–
• On the basketball backboard under the hoop to pick
up the sound of the ball hittingthe backboard.
• On the floorjustoutside the boundary at center court
to pick up footand ball noises and audience reaction.
•Ona 2' x2'panel suspendedover centercourt,using
two PZMs oneither side for stereo pickup.
Football–
•A PZM pyramid aimed at the field clearly picksupthe
quarterback calling the plays.
Boxing–
• Mount aPZM on acornerpostorpanel overhead.
Bowling–
• Place a PZM on the back wall of the alley,high enough
to avoid being hit,to pick up the pin action.
Golf –
• Try a PZM on the ground near the tee.Insulate the mic
from the ground toavoid ground loops.
Hockey–
• Tape a PCC-160 to a post,aiming down,to pick up ac-
tion near the mic.
Indoorsports–
• Sports such as weight-lifting or fencingcanbe picked
up with aPZM on the floor.
BOUNDARY MICROPHONE
TECHNIQUES FOR SOUND
REINFORCEMENT (P.A.)
ConventionalCrownmicrophones(suchastheLM,CM,
andGLMseries)workbetterthanPZMsandPCCsfor
soundreinforcementofmusicalinstrumentsandvocals.
PleaseseetheCrownMicrophoneApplicationGuideforsug-
gestionsonusingconventionalCrownmicrophones.
8
Fig.16
Cornerplacementfor lectern