USER GUIDE
OHCM-200
Overhead Hanging Condenser Microphone
Thanks for purchasing the Nady OHCM-200 Overhead Hang-
ing Condenser Microphone! This microphone is a wide-range
back electret condenser with a cardioid polar pattern. It is very
useful in a variety of overhead hanging mic applications such
as high quality sound reinforcement, professional record-
ing, and many other demanding sound pickup situations. The
microphone is designed to be powered by an external 9-52 V
DC phantom power supply and is enclosed in a rugged die cast
case for long-term reliability.
UNPACKING, INSPECTION, STORAGE AND TRANSPORT
Your OHCM-200 microphone was carefully packed at the fac-
tory, and the shipping carton was designed to protect the unit
during shipping. Please examine your microphone before using
and retain the external shipping package for reuse should you
ever need to return your microphone for servicing.
USING YOUR OHCM-200
The OHCM-200 can be used with any standard mixer, powered mixer/amplifier, or mic
preamp which provides 9-52V phantom power. The optional Nady 48V SMPS-1 Phantom
Power Supply can also be used if your mixer doesn’t supply phantom power. Connect the
supplied mini-XLR to XLR cable directly to your equipment, or use an XLR to XLR bal-
anced low impedance cable as an extension if needed.
The OHCM-200 should be placed at the desired location and aimed at the sound source.
The hanging wire must be attached at an appropriate spot to support the mic and allow
proper stable aim at the source. Experiment with your mic and and its placement and you
will find it to be a useful tool in many applications. Although designed primarily for high
quality far field pickup of audio, such as for use with choirs and stage plays, the Nady
OHCM-200 can also be used in many creative applications. For example, it can also be used
closed field to pickup audio from instruments and percussion. Be aware of the proximity
effect (an increase in bass response) when the mic is placed close to the instrument. This
may or may not be desirable. Experimenting with the position of the mic with respect to the
audio source will ensure the optimum results you are seeking in any given application.
If the microphone is placed too near a speaker during live stage use, an unpleasant howl-
ing effect (acoustic feedback) may occur. Although all microphones are prone to feedback
to some extent, those with a unidirectional polar pattern (such as the OHCM-200) are
specially designed to accept only signals from audio sources in front of the mic element.
Thus, the cardioid pattern of the OHCM-200 ensures that it will deliver only the desired
audio in front of the mic, rejecting the unwanted audio from the rear, even in noisy ambient
conditions with high sound pressure levels from the P.A. and monitor speakers. This means
that feedback will be greatly minimized with the OHCM-200 in all live performance miking
applications. Of course, when using this mic in far field audio pickup applications, extra
care must be taken to lessen feedback.
Some useful ways in which to totally eliminate annoying feedback in live use include:
experimenting with mic positions with respect to the speakers, decreasing speaker volume
(whenever possible), and adjusting the equalization of the mic audio with the mixer.
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