CM-60 Clip-on Miniature
Condenser Microphone
USER GUIDE
Congratulations on purchasing the Nady CM-60 Microphone! Able to han-
dle high sound pressure levels without distortion, the CM-60 microphone is
ideal for close-up miking of all types of drums and percussion instruments,
as well as for accurate sonic reproduction of brass, string, woodwind, gui-
tars, and other acoustic instruments producing high sound fields. Perfect
for wireless, live performance, and recording applications.
USINGYOUR CM-60
The CM-60 can be purchased for use with a wireless bodypack transmit-
ter or for hardwired use with any standard mixer, powered mixer, or mic
preamp which provides 9-52V phantom power.
CM-60 Mini-XLR — provided with a mini-XLR plug that can be used with
most wireless microphone bodypacks
CM-60 Mini-locking Plug — provided with a 3.5mm mini-plug that is stan-
dard for most Nady wireless products
CM-60 Standard XLR — provided with mini-XLR connector and the XM-
60 XLR adapter, required for hardwired use to convert 9-52V phantom power to 6V.
For wireless applications, connect the mini-XLR or 3.5mm mini-locking plug to the mic input of your body pack transmit-
ter. For hardwired applications, use an XLR to XLR balanced cable to connect the CM-60 to your equipment (requires
phantom power). The optional Nady 48V SMPS-1 Phantom Power Supply can also be used if your mixer doesn’t supply
phantom power.
Using the rubber spring clamp, the CM-60 can be mounted to drum rims, edges of acoustic instrument sound holes, or
the bells of wind instruments. Adjust the gooseneck to position the mic as desired, close to the sound source. 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 cabinet during live stage use, an
unpleasant howling effect (acoustic feedback) may occur. Although all microphones are prone to feedback to some extent,
those with a unidirectional polar pattern (such as the CM-60) are specially designed to accept only signals from the audio
source directly in front of the mic cartridge. Thus, the cardioid pattern of the CM-60 helps ensure 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
CM-60 in all live performance miking applications.
Some useful ways in which to totally eliminate annoying feedback 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.
The rubber boom shock mount greatly reduces vibration and low frequencies from being transferred to the audio of the
microphone. This will help prevent low frequency feedback and allows the CM-60 to be easily mounted on the most reso-
nant instruments or materials with a minimum of low/mid frequency feedback or stage rumble.
The built-in windscreen, as well as the included external windscreen, protect the microphone and prevent any sudden
blasts of air from overdriving the audio which greatly reduces feedback and popping noises.
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