Behringer Microphone C 3 User Manual

User’s Manual  
Version 1.0 March 2006  
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LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE C-3  
3.1 Cardioid  
Microphones with this polar pattern (switch position: middle,  
)
are most sensitive to sound coming from in front of the  
microphone, and also to a lesser extent from the sides. Sound  
coming from behind the microphone will be greatly attenuated.  
This makes the cardioid polar pattern most suitable for recording  
individual instruments or vocals within a group.  
3.2 Figure Eight  
Microphones featuring the figure eight polar pattern (switch  
position: left, ) are most sensitive to sound coming from either  
directly in front of or directly behind the microphone. Sound  
coming from either side or above / below is greatly attenuated.  
This polar pattern is perfectly suited as a reporter mic for two  
speakers. This pattern can also allow you to create a natural  
reverb or delay effect. This is achieved by placing the  
microphone between the sound source and a wall. The direct  
sound reaches the „front“ membrane first, the reflected sound  
reaches the „rear“ membrane a short time later. You can adjust  
the delay / reverb time by changing the distance from the mic to  
the wall.  
3.3 Omnidirectional  
If you use the C-3 with the omnidirectional polar pattern selected  
(switch position: right, ), the microphone is equally susceptible  
to sound coming from all directions. This polar characteristic is  
particularly well suited to sessions in which a natural sounding  
recording is sought, or when several sound sources surround  
the C-3.  
4. LOW CUT-FILTER AND SIGNAL LEVEL ATTENUATION  
The low cut filter is activated via the left switch located at the  
front of your C-3 (switch position: left,  
). Disruptive, low-  
frequency sounds such as subsonic noise, snapping and wind  
sounds can be filtered out. When the low cut filter is active,  
when recording a voice from a close distance, you get an almost  
entirely linear frequency response.  
The switch located on the front right side of your C-3 activates  
the -10 dB signal level attenuation (switch position: right, -10 dB).  
This function is particularly recommended when recording im-  
pulse sound sources with high sound pressure (e.g. a bass  
drum).  
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4. LOW CUT-FILTER AND SIGNAL LEVEL ATTENUATION  
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LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE C-3  
5. MICROPHONE INSTALLATION  
A holder is screwed onto your micro-  
phone, allowing you to attach it to mic  
stands with a 3/8" or 5/8" thread. An  
adapter has been included. First  
dismantle the microphone  
stand mount adapter  
from the  
by detaching  
the fine-thread shoulder screw  
at  
the bottom end of the microphone. Fas-  
ten the adapter onto the microphone  
stand, place the microphone into it and  
tighten the screw again.  
Basically, the microphone in the stand  
mount adapter should stand upright and  
face the sound source at a right angle.  
The angle of the microphone to the  
sound source influences the sound of  
the recording; therefore, experiment  
with different positions until you achieve  
Fig. 5.1: Attaching  
the microphone stand  
the desired sound. To this end, you can rotate the mic in the  
stand mount adapter by loosening the screw somewhat and  
tightening it again.  
If necessary, you can bend the microphone out of its vertical  
position by using the hinge on the microphone stand.  
Please make sure to handle the microphone shaft  
with attention and care to avoid damaging the  
screw thread. In no situation should you ever  
apply excessive force.  
Of course, you can detach the C-3 from the stand mount adapter  
and attach it to a commercially available suspension mount.  
6. AUDIO CONNECTION  
Use a balanced XLR microphone cable with the following pin  
assignment: pin 1 = shielding; pin 2 = +; pin 3 = -. Since your C-3  
features gold-plated contact points throughout, we recommend  
that you use only microphone cables with gold-plated connectors.  
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6. AUDIO CONNECTION  
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LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE C-3  
7. LEVEL SETTING/ADJUSTING THE BASIC SOUND  
Adjust the gain control in the microphone channel of your mixing  
console so that the peak LED lights up only occasionally or never  
at all. The EQ controls in the microphone channel should be set to  
mid-travel position to start with; low cut filter and signal level  
attenunation should be switched off. To get the sound you want,  
try changing the mic position relative to the sound source or  
even move the microphone around in the recording room of your  
studio. Adjusting the angle at which walls face the sound source  
can also be helpful. Only when the desired basic sound has  
been achieved, should you start to use equalizers and signal  
processors, if any at all (remember: less is often more!)  
Due to the extremely linear frequency response and the high  
sonic resolution of your C-3, there is no need for high-frequency  
“EQing” that can heavily influence the signal and unnecessarily  
increase the noise level. The C-3 provides that much-desired  
transparency which often gets lost during recording and mixing.  
8. WARRANTY  
The currently applicable warranty conditions can  
be found on our website at http://  
9206 4199 or telephone +49 2154 9206 4166.  
9. SPECIFICATIONS  
Transducer type:  
Polar pattern:  
Connection:  
condenser, 16 mm  
cardioid, figure 8, omni  
gold-plated balanced  
XLR connector  
-40 dBV/pa (10 mV/pa)  
40 Hz - 18 kHz  
142 dB  
Open circuit sensitivity:  
Frequency response:  
<
Max. SPL ( 0,5% THD @ 1 kHz):  
Equivalent noise level:  
Dynamic range:  
Rated Impedance  
Supply voltage:  
Supply current:  
Dimensions:  
23 dBA (IEC 651)  
119 dB  
350 Ω  
+48 V  
7.0 mA  
shaft: 54 mm,  
length: 180 mm  
approx. 0.45 kg  
Weight:  
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9. SPECIFICATIONS  
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LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE C-3  
0º  
5
10  
15  
20  
45º  
45º  
25  
90º  
90º  
dB  
135º  
135º  
180º  
Super Cardioid  
Figure 8  
Omni  
Polar pattern  
dB  
10  
Cardioid  
Figure 3  
Omni  
Low Cut  
-10dB  
0
-10  
-20  
20  
50  
100  
200  
500  
1000  
2000  
5000  
10000  
20000 Hz  
Frequency response  
BEHRINGER is constantly striving to maintain the highest professional standards. As a result  
of these efforts, modifications may be made from time to time to existing products without prior  
notice. Specifications and appearance may differ from those listed or illustrated.  
Technical specifications and appearance subject to change without notice. The information  
contained herein is correct at the time of printing. The names of companies, institutions or  
publications pictured or mentioned and their respective logos are registered trademarks of  
theirrespectiveowners. TheiruseneitherconstitutesaclaimofthetrademarksbyBEHRINGER®  
nor affiliation of the trademark owners with BEHRINGER®. BEHRINGER® accepts no liability  
for any loss which may be suffered by any person who relies either wholly or in part upon any  
description, photograph or statement contained herein. Colours and specification may vary  
slightly from product. Products are sold through our authorised dealers only. Distributors and  
dealers are not agents of BEHRINGER® andhaveabsolutelynoauthoritytobindBEHRINGER®  
byanyexpressorimpliedundertakingorrepresentation. Nopartofthismanualmaybereproduced  
or transmitted in any form or by any means, electronic or mechanical, including photocopying  
andrecordingofanykind, foranypurpose, withouttheexpresswrittenpermissionofBEHRINGER  
Spezielle Studiotechnik GmbH. BEHRINGER® is a registered trademark.  
ALL RIGHTS RESERVED. © 2006  
BEHRINGER Spezielle Studiotechnik GmbH,  
Hanns-Martin-Schleyer-Str. 36-38,  
47877 Willich-Münchheide II, Germany.  
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903  
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9. SPECIFICATIONS  
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