Miktek T89 User manual

Introduction
ank you and congratulations on your purchase of
the Miktek T89 handheld stage 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 voice. Miktek T Series
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 T 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 T89’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
very 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
enjoying using your microphone as much as we enjoy
making them.
Sincerely,
Michael Ketchell - Managing Director
T89 Features
• Dynamic Vocal Microphone
• Neodymium Magnet
• Super Cardioid Pickup Pattern
• Custom Miktek Transformer
• Package with Protective Case and Mic Clip
Description
e Miktek T89 is a super cardioid, dynamic
microphone featuring a custom designed, neodymium
capsule element offering extremely clear and articulate
vocal reproduction. e T89’s frequency response is full
and sweet. Plus, the capsule’s unique labyrinth design
provides precise pattern control and maximum gain
before feedback, so you can hear more of yourself on
T89
Super Cardioid Dynamic Microphone
Owner’s Manual
stage. With high SPL capabilities the T89 can easily
accommodate the loudest singers and can even be
used to mic up loud guitar amps, brass and drums. In
addition, the T89’s smooth and extended frequency
response makes it a great choice for miking acoustic
instruments as well. e T89’s multistage windscreen
helps ensure a minimum amount of p-popping and
the steel grill and die cast body ensure durability and
reliability night after night. e cool, dark gray finish
makes the T89 an attractive complement to any stage
setting.
Understanding Polar Patterns
Perhaps the most important aspect of using your
T89, 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
T89’s capsule provides a super cardioid polar pattern
with an even tighter pick-up pattern. 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
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.

T89 Specifications
Type ................. Dynamic
Polar Pattern: ......... Super Cardioid
Frequency Response: ... 50Hz - 19KHz
Impedance: ........... 300 Ohms
Sensitivity . . . . . . . . . . . . -57dBV/Pa
Length: .............. 7.1 inches
Width: ............... 2.0 inches
Depth: ............... 2.0 inches
Net Weight: ........... 0.65 pounds
Specifications subject to change.
Stand Mounting the T89
The T89 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.
Slide the microphone into the holder from the rear to
the front with a downward motion until it snaps into
place.
Microphone Placement
To help maximize the quality of your performance,
you must pay careful attention to the placement of
your T89, and specifically, how it is positioned for
the instrument or vocalist 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, position the
microphone in front of a monitor loudspeaker within a
110 degree arc as shown in the diagram below. As you’re
changing the microphone’s position, be sure to check
that the mic input is still set to a good level without
clipping, as described in the next section.
Setting Up the Signal Level
In order to get a good signal, first be sure that the
T89 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 T89 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. Vocalist tend to love this effect
since when they get really close to the mic they get the
“FM radio”, big bass sound. A good vocalist with good
mic technique will use the proximity effect to adjust
their tonal response in real time. The key to developing
the best mic technique is experimentation, along with
awareness of the general principle that, the closer your
T89 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.
Front of House Speaker
Monitor Speaker
Front of House Speaker
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T89 Polar Pattern