Electro-Voice RE92H User manual

Key Features:
• Wide, Smooth Frequency Response
• Cardioid Polar Pattern
• Available in Black or White
• In-line Electronics Module
• 12dB/Octave Switchable High Pass Filter
• Transformerless Differential Output to Drive
Long Cables
General Description:
The Electro-Voice® model RE92H / RE92HW is a
professional quality miniature cardioid, electret condenser
microphone. It’s designed specifically for applications where
themicrophoneneedstobesuspendedfromabovethesound
source. The RE92H / RE92HW has a cardioid polar pattern
for high gain before feedback, and its condenser element
provides clear and natural sound reproduction. Exceptionally
highsensitivity,auniformcardioidpolarresponse,andsmooth
frequency response make the RE92H / RE92HW ideally
suited for distant sound pick-up. The RE92H / RE92HW is
ideal for theatre, houses of worship, or any application where
a small, high quality mic needs to be “heard but not seen”.
The microphone is available in two colors, RE92H (Black),
and RE92HW (White). The integrated wire director can be
easily formed at the proper angle so that the mic points at the
desiredsoundsource.TheRE92H/RE92HWcomessupplied
with25feetofcable.Thecableisattachedtotheinlinemodule
by means of screw terminals, so that if needed, the cable
can be easily shortened.
Technical Specifications:
:tnemelEnoitareneG
-
2tertcelekcab,resnednocdesaiB-fleS mgarhpaidderettupsdlog,kcihtnorcim
:esnopseRycneuqerF)trahcees(zH000,02otzH04
)trahcees(:nrettaPraloPdioidraC
tiucriCnepO,ytivitisneS :zHk1,egatloV lacsaP/Vm6.5
:)DHT%1(leveLgnippilCLPSBd531>
:esioNtnelaviuqE02=Bd0(dethgiew”A“LPSBd03< )slacsaporcim
:egnaRcimanyDBd501>
Bd49:ER(esioNotlangiS :)LPS Bd46
:zHk1,ecnadepmItuptuOsmho052
:stnemeriuqeRrewoPrewoPmotnahPtloV25ot42
:noitpmusnoCtnerruCylppus84Phtiw.pytAm6
:snoisnemiDenohporciM)mm5.01("214.0=retemaiD niartsssel,)mm1.23("362.1=htgneL feiler
:snoisnemiDeludoMenilnI)mm2.22("578.0=retemaiD )mm9.531("053.5=htgneL
:elbaCtf52xretemaid)mm45.2("001.0 gnol)m6.7(
:ytiraloPhtiw,3nipotecnerefer,evitisop2niP mgarhpaidehtnoerusserpevitisop
:dehsinruFseirosseccAeludomenilniroferawdraHgnitnuoM
:roloC)WH(etihwro)H(kcalbgnitcelfernoN
:snoitidnoClatnemnorivnE:%05-0ytidimuHevitaleR )F°561ot°02-(C°47ot°92- :%59ot0ytidimuHevitaleR )F°531ot°02-(C°75ot°92-
:thgieWteNeludomenilnihtiw,)smarg042(.zo5.8
RE92H/RE92HW
Unidirectional Condenser
Hanging Microphone
Dimensions:
Inline
Module
Dimensions
Microphone
Dimensions

Frequency Response:
Figure 1: Hanging Mic
Placement
12000 Portland Avenue South, Burnsville, MN 55337
Phone:[phone], Fax:[phone]
www.electrovoice.com
©TelexCommunications,Inc. 12/2003
Part Number 38110-289 Rev A
U.S.A. and Canada only. For customer orders, contact Customer Service at:
800/392-3497 Fax: [phone]
Europe, Africa, and Middle East only. For customer orders, contact Customer Service at:
+ 49 9421-706 0 Fax: + 49 9421-706 265
Other International locations. For customer orders, contact Customer Service at:
+ 1 952 884-4051 Fax: + 1 952 736-4212
For warranty repair or service information, contact the Service Repair department at:
800/553-5992 or 402/467-5321
For technical assistance, contact Technical Support at: 800/392-3497 or 952/736-4656
Specifications subject to change without notice.
Figure 2: 3-to-1 Rule
Polar Response:
When hanging one or more microphones to provide coverage for a choir, instrumental or theater group, the best microphone position for optimum sound
quality and feedback control depends on many factors–sound system characteristics, construction of the auditorium or theater, and the size and nature of
the performing group. Two general rules to observe for the best sound coverage are (1) microphone position and (2) the “3-to-1 rule.”
The first rule is to suspend the microphone approximately two to three feet in front of the first row of performers and two to three feet higher than the heads
of the last row of performers. The microphones are usually aimed to point at the last row of performers (see Figure 1). The second rule, the “3-to-1 rule,”
should be applied when more than one microphone is required, and their outputs are combined (as with a mixer). Following the 3-to-1 rule avoids the deep
voids and dips in frequency response that occur when two or more microphones “see” the same signal from slightly different distances. The 3-to-1 rule is
as follows: when multiple microphones are used, place them at least three times as far apart as any one of them is from the nearest sound source. Figure
2 shows a proper application of the 3-to-1 rule. The RE92H/HW may also be used to provide coverage for live theater applications (Figure 3). Most of the
action occurs at center stage, so the microphone should be positioned above and pointed to the center of the stage.
Application Notes:
Figure 3: Live Theater
Placement
Adjusting the Microphone Direction:
For fixed installations, allow the microphone cable to hang for at least 24
hours so the cable can completely relax and establish a set. This allows
themicrophoneto beaccuratelypositionedovera choir,stageororchestra.
If the microphone needs to be pointed downward from its suspended
location, this can be accomplished by bending the wire director as needed.
Ifthemicrophoneneedstobepointedin adifferentdirectionafterinstallation:
1) Loosen the locking nut.
2) Twist the microphone, making sure the cable also rotates in the
wire director.
3) When you release the microphone, the direction it’s pointing will
have changed.
4) Repeat this process until the microphone is positioned properly,
and retighten the locking nut.