Marshall Electronics Genesis User manual

Professional Audio Division
Phone: [phone] ·800-800-6608 ·Fax: [phone]
www.mxlmics.com ·[email protected]

Tube Microphone
Heritage Edition
Heritage Edition

Thank you for choosing the state of the art
Heritage Edition Genesis HE microphone from MXL®.
Your new Genesis HE microphone was designed and
engineered in the USA by our world class team of
electrical and audio engineers, and is built for the
most critical sound applications. As the flagship of
the MXL®product family, the Genesis HE exhibits a
warmth and intimacy previously only found in
microphones costing many times more.
The MXL®Genesis HE features individually
selected components, chosen for their superior
sonic capabilities. One of the key components
is the Mullard 12AT7 tube, which is universally
accepted as one of the most musical tubes
available. Your Genesis HE will provide many years of
outstanding service, and will always ensure you get the
finest quality recordings attainable.
To assist you in obtaining the best possible results
from your MXL®Genesis HE microphone, we have
provided some tips, tricks and answers to
commonly asked questions.
We encourage you to review these materials.
1

110
Genesis HE Specs
Type: Vacuum Tube Studio Condenser
Microphone
Tube Type: Mullard 12AT7 or equivalent
Diaphragm: 6 micron gold-sputtered
Frequency Response: 20 Hz – 20 kHz
Polar pattern: Cardioid
Output Impedance: 200 ohms
Pre-Attenuation Switch: 0 dB, -10 dB
High Pass Filter: 6 dB/octave @ 150 Hz
Equivalent noise: 18db (A-weighted IEC 268-4)
S/N Ratio: 78dB (Ref. 1Pa A-weighted)
Max SPL for .5% THD: 130 dB/140 dB (0dB, -10 dB pad)
Power Requirements: Dedicated power supply
Size: 59mm x 240mm
Weight: 1.55 lbs.
Metal Finish: Silver Frost with Chrome Grill
Warranty
MXL microphones are guaranteed against defects in material and
workmanship for one year (except tube which is 90 days) from date of
purchase. Should you encounter any problem with this unit, promptly contact
the company you purchased it from for assistance. The original dated sales
receipt will be necessary for any warranty claim. Do not send any unit
directly to us without prior authorization from our service department!
Warranty coverage is limited to repair or replacement (at our option) of the
microphone, and does not cover incidental damages due to use of this unit,
nor damage caused by accidental misuse of this product.

Recording a Drum Set
Like the piano, capturing the drums can be quite a challenge, if for no other
reason than the fact that you must be very careful to avoid positioning the
microphone(s) where they could be hit! Ideally you’ll want a minimum of two
microphones for this job, though a single microphone can be employed.
Stereo Overhead Pair: Position the two microphones approximately 16 - 20
inches above the performer’s head - separated laterally by roughly 2 - 3 feet
and placed 5 – 6 feet out in front of the drum kit. Adjust the two microphone’s
Pan position so that you achieve a good stereo spread, though generally not
hard left and right. (see Fig. 5A)
Single Overhead Microphone: Position the microphone approximately 16
- 20 inches above the performer’s head - centered in front of the drum set,
and placed 5 - 6 feet out in front. The microphone’s Pan position should be
centered for mono drums. (see Fig. 5B)
For best results, record the drums in as acoustically “dead” a room as you
can. If the room is live, the sharp attack transients of the drum kit will only
become that much more difficult to capture if the room has hard, reflective
surfaces - resulting in a muddy sound without any real definition. Further, you
should always record the drums dry and add signal processing after the fact.
9
2
1
1
Fig. 5A
2-3 Ft. apart
16-20” above performers head
Front View
Fig. 5B
16-20” above performers
head
Front View

Switches
The Genesis HE features switches
for both bass roll-off and a -10dB
pad. The bass roll-off is set to 6dB
per octave at 150 Hz. This can
reduce proximity effect if required.
Proximity effect is the change of
frequency response as the recorded
source is brought closer to the
microphone. With vocals, this usually
manifests itself as an increase in
low frequency content as one gets
closer to the microphone. The
-10dB pad effectively reduces
possible overloading of the
microphones internal circuitry at
high SPLs.
Power Requirements
IMPORTANT -This unit requires
the use of the dedicated power
supply included in the package. This
supply is switchable between 115
volts and 230 volts AC. In North
America the microphone ships
in the 115 volts AC position and
in the 230 Volts AC position for
export. However, you always want to
ensure that the power supply
voltage is correctly set for your local
voltage as permanent damage to the
microphone and/or power supply may
occur if the incorrect voltage setting
is selected. Every MXL®microphone
has been thoroughly checked before
shipping; so if you hear no sound,
check that the power supply is
switched on.
Caution
Do not “hot plug” the mic. Always
ensure that the power supply is off
when plugging and unplugging the
included seven-pin cable from the
microphone to avoid damaging the
microphone and power supply.
Care
Dust and foreign material can
degrade the performance of a
microphone over time so always
store the unit in its case. It is
highly recommended to use the
specially designed Genesis HE pop
filter when recording vocals.
Features
Accessories
Continued on page 3
2
Pop Filter
The Genesis HE comes with a
custom pop filter which should
be used anytime the microphone
is being used to record vocals.
The pop filter not only eliminates
plosives (those “popping Ps”),
it helps collect
9

3
condensation from one’s breath
and protects and protects the
microphone’scapsulefrommoisture
in the process. Condensation on
the microphone’s capsule will cause
the microphone to short circuit -
resulting in the microphone cutting
in and out of operation. Should this
occur, you can leave the microphone
uncovered, out in the open
for approximately two weeks to
thoroughly dry. This will likely
rectify the problem. Afterward, you
should always use a pop filter.
Shockmount
The Genesis HE comes with a
custom shockmount specifically
designed to handle its large
size. Shockmounts de-couple the
microphone from the mic stand and
the environment. The shock-mount
will minimize floornoise as well
as any noise induced by people
handling the microphone stand.
Shockmounts should be considered
“standard equipment” for all
recording applications.
Microphone Cables
The microphone cable can have a
profound effect on the sound of
any microphone. Even the finest
microphones will sound poor if the
interconnect cable allows noise to
enter, or causes distortion and
loss of information. We highly
recommend exclusively using the
Mogami®cables supplied with
your Genesis HE Mic.
Continued from page 2
Accessories
The front of the microphone is always indicated by the position of the
cardioid pattern symbol.

38
Front Panel Placement: For the upper strings, position the microphone
approximately 8 - 11 inches away from the strings, with the Pan position set
to left of center. For the lower strings, position the microphone 8 - 11 inches
away from the strings, with the Pan position set to right of center. (see Fig. 4B)
Single Microphone / Open Top: If you are using a single microphone, it is
generally recommended that you record from above, as placement of the
microphone in the lower center may interfere with the performer’s ability to
access the pedals and the microphone will likely pick up excessive pedal
and other mechanical noise. Position the microphone just over the open top,
centered over the instrument. (see Fig. 4C)
Fig. 4B
2 1
Front Panel Removed
Front View
Mics positioned
8-11” away from strings
Side View
Fig. 4C
11
Side ViewFront View

Recording the Piano
The piano is one of the most challenging instruments to record, and many
problems stem from the quality and maintenance of the instrument itself.
You’ll obtain the best results by using an instrument that has just been tuned
and is in good mechanical condition.
The piano is generally recorded using close miking technique. Ideally, you’ll want
a minimum of two microphones. Usually, the microphone capturing the higher
stringsisassignedtotheleftchannelandthemicrophonecapturingthelowerstrings
is assigned to the right channel in the final stereo mix, though the stereo spread
generally is not hard left and right. While a single microphone can be used,
the lower and upper extremities of the instrument will likely be compromised.
Grand Piano: For the upper strings, position the microphone approximately 8
inches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches
above the strings, with the Pan position set to left of center. For the lower strings,
position the microphone toward the far end (away from the keyboard) roughly
6 - 12 inches from the end and 8 - 11 inches above the strings, with the Pan
position set to right of center. Position the piano’s lid at full stick. (see Fig. 4A)
If you are using a single microphone, position the microphone approximately
8 inches from the piano hammers (to reduce mechanical noise) and 8 - 11
inches above the strings - centered over the piano’s mid point. Pan position
should be centered and the piano’s lid should be at full stick.
Upright Piano: With an upright piano, the two microphones are generally
placed either just over the top of the piano with the top open, or you
can remove the piano’s front panel beneath the keyboard and place the
microphones below.
7
Fig. 4A
Top View
or a single mic here
*
2
Front View
or a single mic here
*
2
1
1

7
Recording Vocals and Dialog
Ideally, you want to record vocals in a relatively “dead” room. If you clap your
hands and get an echo effect, you should consider adding some carpet,
blankets, drapes, or other sound absorbing materials. On that note, make
every effort to avoid getting too close to the room’s walls. These hard,
reflective surfaces can easily complicate the recording process. Move your
mic setup toward the room’s center.
Generally, you should position the vocalist roughly 6 - 8 inches away from
the microphone. Getting too close to the microphone tends to increase bass
response and can create problems with plosive sounds - those
popping Ps, Bs, Ds, and Ts (more on this in a moment). Getting too far
away makes the microphone more subject to picking up room ambience -
a sound that creates the effect of the vocalist being in a bowl. While
vocalists may need to move about in order to hit those high notes, make
every effort to maintain a constant distance from the microphone, as this
will provide the greatest tonal balance. (see Fig. 1) For the most part, the
microphone’s axis (or center line) should aim toward the nose and mouth
to obtain the fullest sound. It’s not a bad idea, however, to experiment
angling the microphone slightly away from dead center so as to help minimize
plosives. Further, you should always place a “pop” filter between the vocalist
and the microphone, with the pop filter positioned 3 - 4 inches in front of the
microphone. This will greatly increase your ability to achieve the most natural
sounding recordings with minimal interference from plosive sounds. Fixing
plosives with audio editing software often creates more of a problem than the
plosive itself. Use of a pop filter will also protect your microphone’s sensitive
capsule - keeping it free from moisture caused by saliva projecting from the
performer’s mouth, and breath condensation. Remember… Good
microphone technique, proper positioning, and use of a pop filter can make
all the difference between a so-so vocal recording and a great one.
Fig. 1
4

6
Recording Acoustic Guitar
While it may seem obvious, your best
results for capturing the acoustic
guitar (or any similar stringed
instrument for that matter) begin with
a properly tuned instrument and
strings that, while not old, aren’t so
new so as to create tuning issues
due to stretching.
There are two optimum points for
microphone positioning - either near
the bridge or by the twelfth fret.
While it may seem natural to place
the microphone in front of the
instrument’s sound hole, doing so
usually increases low frequency
response to the point of making the
instrument sound “boomy.”
Twelfth Fret Placement: Placing the
microphone roughly 2 - 4 inches from
the twelfth fret and aimed directly at
the strings will generally produce a
warm, full bodied sound with good
tonal balance. Using this technique,
the sound hole’s contribution will be
moderated since the microphone is
not pointed directly at it.
Bridge Placement: Similarly, you
can position the microphone so it is
3 - 6 inches from the guitar’s
bridge. This will generally produce a
somewhat brighter tonal quality. You
shouldalsobepreparedtoexperiment
positioning the microphone slightly
off-axis should you find yourself
capturing too much low frequency
response from the guitar’s sound
hole.
The acoustical characteristics
of your room will also have a
pronounced effect on your results.
A “live” room will produce an
overall “brighter” guitar sound, while
a “damped” room will produce more
of a mellow tone. If you have two
microphones, you may wish to
experiment using one in close
proximity to the guitar as previously
described, with the second
microphone on a stand a few
feet away to capture the room’s
ambience. Blending the two sources
can produce excellent results.
5
Fig. 2
Bridge Placement 12th Fret Placement

Recording an Amplified (Electric) Guitar
6
Mic is aimed
directly at center
of loudspeaker
Top View
Fig. 3
Mic is positioned
4” from grill
Side View
4”
While the electric guitar can certainly
be recorded directly, there are times
when there is simply no substitute for
the sound of a real amplifier. Guitar
amps have particular gain stages
that facilitate the popular “crunch”
guitarsound.Whiledigitalmodelingand
processing systems certainly have
their place, they may not have the
same level of realism as the sound
from an amplifier. A small guitar
amp can be just as effective for this
application as a stack, because you
don’t necessarily need to “crank” the
volume. Instead, you want to increase
the amp’s initial gain to achieve the
desired amount of overdrive.
Typically, a guitar amp is close miked
to achieve the highest direct sound.
Placing the microphone roughly 4
inches from the grill, aimed directly
at the center of the loudspeaker will
produce the most “edge” to your
sound. By angling the microphone
slightly off axis and towards the wall,
you can add more “room sound.”
Experimentation is a key factor in
achieving the sound you are looking
for. (see Fig. 3)
Placement of the amp is another
important factor. If the amplifier sits
on a carpeted floor, you are more
likely to reduce the amount of
brightness in the sound. Similarly,
elevating the amplifier off the floor may
result in a loss of low end. If you’re
looking for a big reverberant tone,
placing the amp and microphone
in the bathroom is another popular
technique. The hard tiles and other
reflective surfaces can do wonders
for a dull sound. In this case, move
the microphone back a few feet from
the loudspeaker and crank it up!
5