Miktek PM11 User manual

Introduction
ank you and congratulations on your purchase of
the Miktek PM11, Performance Series Kick drum
microphone. You work hard to give a better than average
performance, so you demand a better than average
microphone to reproduce the sound of your drum.
Miktek Performance Series drum microphones offer way
above average sound and build quality impressing the
most discriminating engineers and artists. Featuring
cutting edge capsule designs that are perfectly matched
to Miktek’s proprietary output transformers; the
Performance Series microphones produce a modern, yet
truly classic sound, well suited to today’s contemporary
performers.
In the following sections of this manual you will find
a description of the PM11’s features, step-by-step
set-up and operating instructions along with detailed
specifications. In addition, we’ve also included some basic
miking fundamentals for typical live sound and recording
applications. To some of us these may seem quite basic.
However, at Miktek we want to encourage young or new
engineers to use our microphones, or at least to read our
manuals and learn something about recording and live
sound. We know you’re serious about your sound because
you purchased an outstanding audio instrument, and at
Miktek, we’re serious about providing superior products
and service to our customers. We appreciate your
patronage and hope you enjoy using your microphones as
much as we enjoy making them.
Sincerely,
Michael Ketchell - Managing Director
PM11 Features
• DynamicKickDrumMicrophone
• NeodymiumMagnet
• SuperCardioidPickupPattern
• CustomMiktekTransformerbyAMI
• PackagewithProtectiveCaseandMicClip
Description
The Miktek PM11 super cardioid, dynamic microphone
features a custom designed, neodymium capsule
element offering extremely clear and articulate sound
reproduction of low toms, acoustic bass, and of course,
kick drum. The PM11’s frequency response is full and
robust and is perfect for reinforcing bass drums in live
sound applications.
PM11
Super Cardioid Dynamic Microphone
Owner’s Manual
Incorporating an inductor circuit in the audio path, the
PM11 features a phase-coherent low frequency boost,
offering a tight bass response that is smooth and even
with the frequency response of the microphone. Plus,
the capsule’s unique labyrinth design provides ultimate
rear rejection and maximum gain before feedback, so
yourkick,orkicks,cutthoughthePAwithclarityand
distinction. The deep and honest response makes the
PM11 kick drum mic ideal for studio applications. With
high SPL capabilities the PM11 can easily accommodate
the loudest drummers and can even be used to mic up
loud bass guitar amps. The PM11’s steel grill and die cast
body ensure durability and reliability night after night.
The PM11 can be set upon a traditional mic stand using
the included holder. The ultra sleek, silver finish with
stainless steel and black appointments make the PM11 an
attractive complement to any drum kit. The Miktek PM11
kick drum microphone will reproduce the sound of your
bass drum faithfully, delivering a solid foundation to any
live or studio performance.
Understanding Polar Patterns
Perhaps the most important aspect of using your PM11,
or any other microphone, is to understand its polar pick
up pattern. Every microphone has a characteristic polar
pattern that determines how well it accepts or rejects
signal coming from various areas around the microphone
capsule. There are many types and variations of polar
patterns but the three most common are omnidirectional,
bidirectional or figure-eight and unidirectional or
cardioid. Omnidirectional microphones pick up sound
from everywhere, producing the same frequency response
regardless of where the sound source originates (in front
ofthemic,behindit,totheside,etc.).Abidirectionalor
figure-eight microphone picks up sound directly from
the front and back while rejecting the sound at the sides.
In contrast, cardioid mics are specifically designed to
accept the sound coming from directly in front, and
to reject sound coming from behind or from the sides.
The PM11’s capsule provides a super cardioid polar
pattern with an even tighter response. While omni and
bidirectional microphones are very useful for a variety
of applications, the majority of miking situations in live
sound applications require unidirectional or cardioid
microphones. When positioned correctly, the cardioid
pattern allows you to pick up more of the sound you
want and less of the sound you don’t want. In live sound
situations, the polar pattern greatly determines how

PM11 Specifications
Type ................. Dynamic
Polar Pattern: ......... SuperCardioid
Frequency Response: ... 50Hz - 10KHz
Impedance: ........... 150 Ohms
Length: .............. 5.85 inches
Width: ............... 2.3 inches
Depth: ............... 2.3 inches
NetWeight: ........... 0.65 pounds
Specifications subject to change.
prone a particular microphone is to inducing feedback.
Feedback is that nasty howling sound that occurs when
a mic is placed too close to a loudspeaker—the signal
from the loudspeaker is fed into the mic, then into the
loudspeaker, then into the mic, over and over. The super
cardioid pick-up pattern allows for better separation of
instruments on stage and more control over feedback in
live sound reinforcement.
Stand Mounting the PM11
The PM11 can be mounted to any standard microphone
stand using the included mic stand holder. If you are
using a US standard 5/8-inch mic stand, remove the Euro
adapter by unscrewing it from the mic holder. Loosen the
thumb screw and slide the microphone into the holder,
then re-tighten the thumb screw.
Microphone Placement
To help maximize the quality of your performance, you
must pay careful attention to the placement of your
PM11, and specifically, how it is positioned for the
instrumentthatyou’remiking.Asyoubecomemore
experienced in miking techniques, you’ll quickly realize
the microphone placement is critical to getting the sound
you want while maximizing gain before feedback. When
placing the mic around any instrument or sound source,
take notice of the position of the front of house and
monitor loudspeakers. In general, it’s good practice to
set the microphone behind the main or front of house
PAspeakerstoavoidfeedbackfromthosespeakers.Also,
be conscious of nearby monitor loudspeakers to avoid
feedback on stage. When using the PM11 on kick drum,
the microphone can be placed in or outside the drum,
with the capsule pointed straight on or at an angle with
the drumhead. Positioning the microphone inside the
kick drum, pointing at the beater head can also offer more
attack and “click” to your sound. When miking drums, it
is good practice to position the PM11 so that it’s pointing
at the area that’s at a distance of about 1/3rd of the
drum’s diameter from the inside of the rim. From there
the microphone can be positioned to taste.
Setting Up the Signal Level
In order to get a good signal, first be sure that the
PM11 is connected to a mixer or recorder input that is
microphone level. Most quality mixers, mic pre’s and
recorders provide microphone inputs with a mic trim
(“Trim”AKAMicGainorLevel)control.Thepurpose
of the mic trim control is to set a good signal level and
minimize any noise associated with the mic inputs
electronics.AgoodmicprewillalsohaveaCliporPeak
LED to show you when the input is at overload; the level
which distortion begins to occur. To set a good clean
level, set the PM11 up in front of the desired sound
source and slowly turn up the mic trim until you see the
ClipLEDlightup.Then,turnthetrimcontroldownuntil
the LED does not light any more. On most microphone
inputs, the best setting is when the trim control is turned
upashighaspossiblewithoutlightingthePEAKLED.
The Proximity Effect
Allcardioidoruni-directionalmicrophonesexhibita
phenomenon known as “proximity effect”. The proximity
effect is the increase in low frequency response a
microphone exhibits as it is moved closer to the sound
source. Vocalists tend to love this effect since when they
get really close to the mic they get the “FM radio”, big bass
sound. Just as on a vocal, you can use the proximity effect
to adjust their tonal response of the bass drum you’re
miking. The key to developing the best mic technique is
experimentation, along with awareness of the general
principle that, the closer your PM11 is to a signal source,
the greater the bass response. The proximity effect’s bass
lift is caused by the amount of pressure present at the
ports that are used to create the directional pattern. Since
omnidirectional microphones do not have ports, they do
not have proximity effect.