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About brubart

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  1. Box of CM-30s

    When you say that each CM-30 has a 6-pin connector, do you mean the electronics module with screw terminals? If so, add a mic cable with an XLR connector to the module as shown in the CM-30 data sheet: See Figure 4. The mixer cable is the one that you'd wire to the CM-30 module. At the mixer end of that cable, solder on an XLR connector. Plug it into an XLR mic input with phantom power. At the module end of the mixer cable, connect cable shield to screw terminal 1, connect cable hot lead (red or white) to terminal 2, and connect cable cold lead to terminal 3. Good luck, brubart
  2. Box of CM-30s

    Here's a wiring diagram for a CM-30 that powers the mic and converts it from unbalanced to balanced. Good luck, brubart
  3. A single PZM on the floor in the middle of the group should work fine. You can adjust the balance among instruments by moving players toward or away from the microphone. If the horn players play straight ahead rather than downward, the PZM will be off-axis to the horn bells, which will help to mellow out the tone. The PZM-30D and PZM-6D sound the same, and both sound more hi-fi (they have a flatter frequency response) than the PZM-185. As shown in the PZM-185 datasheet, the PZM-185 has a high-frequency peak. But you might be able to remove with EQ. That way you could get a fairly flat response but with a lower-cost microphone. The PZM-185 might sound okay as is. The PZM-30D and PZM-6D can handle 148 dB SPL without audible distortion, while the PZM-185 can handle 120 dB SPL. That's probably sufficient for a Dixieland band. Good luck, brubart
  4. CM-311AE to wired

    Please see Sorry, I don't know what you mean by "sticking sound" or "ground sound". But in the knowledgebase article above, the bottom diagram shows how to filter the 9V DC supply to make it have less hum. Maybe that's what you mean. To make the CM-311AE phantom powered, you'd need to purchase a CM-311A microphone. Then you could just switch mics when you want to go from wired to wireless, or vice versa. Good luck, brubart
  5. You can add a connector to the CM-311A cable without sacrificing sound quality. The connector can be any type that has three terminals, such as an XLR connector or tip-ring-sleeve 1/4" connector. Here's how to solder the cable leads to the male and female connectors: XLR pin 2: red XLR pin 3: black XLR pin 1: shield TRS tip: red TRS ring: black TRS sleeve: shield Good luck, brubart
  6. The CM-311AE with a connector for AKG transmitters is called the CM-311AEAKG. The Shure model is the CM-311AESH, and the Audio-Technica model is the CM-311AEAT. They all sound the same. The mic simply plugs into the transmitter. If you have a different model of transmitter, Crown Technical Bulletin 3 tells how to wire the CM-311AE to a connector that mates with that model of transmitter. Usually a music store technician can do it for you. Good luck, brubart
  7. Any standard 9V battery should fit. The MN1604 is the correct Mallory Duracell model, and the MN9100 is incorrect. Thanks for spotting the error. Make sure that the battery terminals are correctly aligned with the terminals inside the battery pack. The battery cover shows the correct polarity. Good luck, brubart
  8. Adjusting the CM311A

    Hi Christi, It's OK to apply a lot of force to the headband and earpieces so that they permanently deform to fit your head. You might try putting on the mic first, then glasses, or try the opposite and see what feels best. Maybe you could place your glasses' earpieces just above the mic's earpieces. Good luck, brubart
  9. PZM-185 or Soundgrabber 2?

    The two mics sound the same when plugged into an unbalanced high-impedance mic input. The Sound Grabber II loses bass (low frequencies) when plugged into a low-impedance mic input (as in a mixer or audio interface), while the PZM-185 does not. In other words, the PZM-185 has better bass reproduction than the Sound Grabber when used with quality audio gear. Both mics sound the same in the treble (high frequencies). I'd recommend the Sound Grabber II for camcorders and for recording meetings. The PZM-185 is better for recording music, plus it works on phantom power as well as its internal battery. brubart
  10. Bon jour, Brett, I've had French classes but I cheated with a translator on words that I forgot. You could paint the headband to match your skin color. Maybe add battery-powered LEDs, a kerchief or even a ballcap. ;>) Amusez-vous, Monsieur brubart
  11. The WS-6 is the only windscreen available for the CM-311A. It's the one supplied with the mic. Actually, a bigger windscreen degrades the mic's isolation and gain before feedback because it forces the user to sing farther from the microphone. The CM-311A is a noise-cancelling microphone -- it cancels sounds at a distance, such as monitor speakers. If a singer's mouth is too far from the mic due to a large windscreen, their voice will get partly cancelled too. We originally designed the CM-311A for country star Garth Brooks. He used up to 40 floor monitors hidden under the stage, and wanted to perform anywhere on stage without feedback. He also wanted his voice to sound great over the PA speakers. The CM-311A did the job for him (as well as Janet Jackson, Britney Spears, The Back Street Boys, and many others). J'espère que le CM-311A va bien fonctionner pour vous. brubart
  12. Replacement parts are available in Crown's Parts Dept., and its link is below. Ask for a WS-6 foam windscreen for the CM-311A. Sorry, the WS-14 windscreen is no longer available. Crown's Parts Dept. You can still move the mic up or down after the thumbscrew has been tightened. This is normal operation so that you can get "off-mic" when needed without having to loosen the thumbscrew. Regarding the breath popping, you might have tested the mic with a worn-out windscreen, or you might not have pressed the foam windscreen lightly against your lips. The mic pops very little with a new windscreen and with lips touching the windscreen, as the mic was designed to be used. Bonne chance, brubart
  13. It sounds like you want a wave file recording of the PZM-10 responding to an impulsive sound source like a gunshot or a balloon popping. If you use convolving software to convolve (multiply) that IR with a speech wave file, you will get the sound of the speech as picked up by the PZM-10. Sorry, we don’t have that data; but you can get very nearly the same result by equalizing the speech according to the frequency response of the PZM-10 that is published in its datasheet. You would need to record a speech wave file anechoically (or nearly so) with a flat-response omnidirectional measurement microphone. Then equalize that recording with a response curve that matches that of the PZM-10. The resulting recording would be the sound of speech as reproduced by the PZM-10. That would be an anechoic recording, which you would then convolve with the impulse response of the room in which the speech is going to be. The end result would sound like speech in that room as picked up by the PZM-10. When you record speech with the measurement microphone, the orientation of the talker to the mic should be the same as it would be in the real-life situation. For example, if the PZM-10 will be 45 degrees off the axis of the talker's mouth, the measurement microphone should be too, in order to capture the off-axis spectrum of the voice. brubart
  14. A noise gate turns down the volume during pauses in speech, so it reduces breath noises. Noise gates are available in hardware or software. Some manufacturers are Drawmer and Alesis, among others. To use a hardware noise gate, 1. Plug the mic into a mic preamp or small mixer that has phantom power. 2. Connect the output of the preamp or mixer to the noise gate input. 3. Connect the noise gate output to your sound card or audio interface line input. 4. While talking, adjust the gate threshold so that breathing during pauses is inaudible but speech is not gated or cut off. To use a software (plug-in) noise gate in a recording program, insert it into the track that your speech is recorded on. While playing the track, adjust the gate threshold as described above. Ideally you would use a headworn mic in which the mic capsule is to the side of the mouth to prevent breath pops. Crown no longer makes one, but you could make one by taping a Crown GLM-100 mini mic ($185) to a bent coathanger wire that goes around your head and over both ears, with a "boom" extending from one ear to the side of your mouth. A diagram is here: Good luck! brubart
  15. That was a good test, Helmut. Is your handheld mic a dynamic type? If so, it has no internal electronics which can pick up and rectify RFI. The PZM is a condenser mic, so it does have internal electroncs which can pick up RFI. You might need to use dynamic mics in your application. Good luck, brubart