Handling the Microphone:
While
the clamp assembly is quite rugged, it's best to avoid touching the
microphone chassis, especially the tip containing the microphone
capsule, but rather to always handle it by its rubber O-ring as shown
above. Because thismicrophone was designed to be as light as possible,
there is no heavy cage or grille assembly protecting the capsule. The
foam windscreen actually does a better job of of protecting the capsule
since it's shock absorptive
nature will protect the microphone if it is ever dropped (in addition
to keeping wind and foreign objects from getting into the capsupe).
For this reason, I recommend keeping the windscreen on at all times - especially during storage and transport.
Do
not attempt to open the capsule, it is permanently bonded together in
fabrication. Doing so will tear the delicately soldered leads out of the back of
the mic capsule - The cylindrical microphone chassis is the least
repairable part of the 347.
It is best never to adjust the angle of the copper base of the shockmount, or rather to only adjust it once and leave it alone (making sure that the screw is as tight as possible to avoid it coming loose during playing).
There is a compressed steel lockwasher between the copper and aluminum
whose teeth 'bite' into both metals, thereby holding the angle at
maximum strength. For a pandeiro, it is best to have the microphone
pointed across the center of the drum at the opposite bearing edge
(where the skin meets the shell). This will give you the most
'natural' balance between drum tones and the platinelas. You don't
need to worry about this too much, just be aware that pointing the
microphone too close to the skin will cause excessive low frequency
rumble, even on non-bass tones due to the proximity effect.
Likewise,
the screw holding the plastic shockloop is firmly embedded into the
plastic of the loop and is best left alone. If you must change or
adjust this for any reason, it's best to replace the shockloop
completely so that the screw will embed into the virgin plastic. A
simple zip-tie will work for a replacement shockloop.
The
microphone cable and its connectors, as in any audio system, should be
handled with great care. Take the time to coil the cable when not in
use and don't let it get kinked or tied in knots. I use the highest
quality cable and connectors available (responsible for over a quarter
of the materials cost, yet something I'm unwilling to skimp on),
however they are relatively fragile and should never be yanked or
pulled. The mini-XLR that connection between the microphone chassis
and the cable is particularly delicate. Cable length should be kept to
10' or less. That said, a few players have 12' cables and have
reported no problems. If you do not need extra footage, it's best not
to have it since it will only be more cable to tangle and make your
microphone more susceptible to RFI.
I personally prefer a more manageable 8'. If you play lapstyle or
seated, you may prefer an even shorter length to avoid tangles. You
can purchase replacement cables from me for $40.00. These cables
are well made and will also work. The cable is wired as all typical
microphone cables (pin1=gnd, pin2=hot) and can be repaired by anyone
with basic soldering skills (just note that the orientation of the pin
numbers differs on the mini XLR and standard XLR connectors).
Because
the XLR output is balanced and low impedance, length of the XLR feeding
the sound system does not matter and can run for hundreds of feet
without interference or signal degradation.
The
optional 1/4" output is 'instrument level' (like the output of an
electric guitar or bass) and runs should be kept as short as possible.
This output is ideal for feeding electronic effects and/or the input
of a bass guitar amplifier. (Yes, guitar amps will work too, only
their sound tends to be too nasal and mid-rangy for my taste. I find
Bass or Keyboard amps sound best due to the broad [very low to very
high] frequency spectrum they're designed to reproduce)
NEVER
plug the output of the microphone cylinder directly into a
phantom-powered input without the preamp inline. This may
destroy the microphone capsule if phantom power is on. The only reason
I use a standard XLR connector between the microphone and the preamp is
because it is the most rugged quality cable connector available, and
NOT because it's ok to plug directly into a phantom powered input.
All that said, the 347
is incredibly durable and has withstood considerable abuses during
prototyping, testing, and gigging. Treat it with the same care as your
instrument and it will last forever.
Fitting The Clamp:
This
is the very first thing that you should do once you have received your
microphone. In order to properly fit your microphone to your drum, you
will need a 5/16" wrench to fit the adjustable locknut. A narrow
adjustable wrench will also work, but do not use pliers as they can
strip the outside of the locknut. Once you've fitted your clamp, the
Locknut will hold its place and you will be able to move you microphone
on and off the drum freely, without the need to re-fit.
The
idea here is to sandwich the shell of your drum in between the aluminum
planks of the clamp so that the planks are perfectly parallel. Begin with
the wingunt loose and pinch to the clamp to sandwich the drum shell
between your thumb and index fingers:
Use your wrench to move the locknut so that it touches the outside of the clamp, keeping the aluminum planks parallel:
When
done properly, you will be able to tighten the wingnut and the two
aluminum planks should firmly sandwich your drum between them. The
rubber pad on the inside of the clamp will slightly compress to fit
snugly to any uneven or curvy surface on the drum's shell:
Not like this: Nor like This:
The
sandwich clamp is at maximum tensional integrity (clamping force) when
the planks are parallel and tightening the wingnut beyond that point
will NOT result in a more secure grip. In fact if overtightened, the
clamp's integrity will be forever compromised. Just take the time to
fit the clamp properly, with the proper tools and in good lighting, and
you will get the perfect fit with a moderately firm clamping.
Attaching the Cable:
Once
the clamp has been fitted optimally, the second step in installing your
new microphone is the attachment of the cable to the mic assembly's
strain-relief. This strain-relief is one of the most critical parts of
the 347
as it keeps the back-and-forth oscillations of a pandeiro from
stressing the cable's connector directly. Furthermore, should the
cable get stepped on, caught. or otherwise pulled or yanked, the
strain-relief will keep the connector and it's soldered joints
protected from being stressed.
Always treat your cable as if it were sacred. Never step on it, roll
anything over it, pull it, or otherwise apply any unnecessary stress or
strain to it. The cable is the most vulnerable part of 347 microphone
system. Even though it can be easily swapped, repaired, or replaced, it shouldn't have to be. It will last forever if you simply take good care of it. Coil it neatly and store it when it's not in use.
I have photographed this document so
far without the cable attached for the purposes of clarity, but unless
you have to change or repair a cable, it's best to leave it always
attached. Likewise, the mini-XLR connector is delicate and it's best
to only unplug this connection when you must remove the cable for
repair.
(A simple Lark's Head
knot is used on both ends of the band. Make the first around the
thread of the adjustment screw. Then make another and feed the cable
through the loop, and pull it tight around the cable for a firm,
non-slipping grip.)
In
addition to protecting the the solder joints in the cable's connector,
the strain relief also protects the edge of your drum shell from the
threads of the screw.
...and
while on the subject of protection, the entire clamp assembly and
shock-mount positions and protects the microphone when the drum is set
down on a flat surface:
With
the clamp properly fitted to your drum, you are now ready to kick out
the jams. The cable should form a small loop and naturally fall to the
floor in front of you, its weight supported by the strain-relief:
Notice
that the as the cable hangs from the strain-relief, there is no pull
directly on the microphone's cable connector. This is how your
microphone should look installed, with no kinks or twists in the
cable. Be sure that the loop is on the low side of the drum so that
the cable does not slap the clamp or itself as it swings from the
strain relief during playing.
***
These photos were all taken with the windscreen off for the sake of
photographic clarity. It is strongly recommended that you keep it on at
all times (especially when storing and traveling) to protect the tip of
the microphone capsule from foreign objects. It is designed to snugly
fit the microphone and swells to fit the microphone's slanted air vents
for a secure grip. Avoid excessive twisting or handling of the
windscreen as this will compromise this grip. Should you need a
replacement, they are available here.
Do
not stuff you microphone into a tight or unprotected bag or pocket
where it can be damaged. Likewise, do not store it into a trap case
with other loose objects - this will certainly shorten the life of your
microphone. When you transport it, make sure that it is protected on
all sides and will not bounce around or otherwise be hit or jarred.
Remember, the microphone assembly is lightweight and therefore somewhat
fragile. This molded CD/DVD wallet
makes an excellent carrying case that can safely fit inside of your
pandeiro's frame when it is stored or transported, protecting both your
drum and the microphone. (Thanks to Claudio Santana for sharing this
discovery.)
The Power Module:Affectionately
known as the 'twinkie', it is designed to sit on the floor. It's
purpose is to regulate the power supplied to the microphone capsule and
to optimize the audio from the capsule for output to a sound system.
For standard operation, it requires +48V phantom power and will put out
a conventional balanced microphone-level signal on a standard XLR
microphone cable.
By switching
to the 1/4" instrument output (Battery), the XLR output will be
disabled and power will be drawn from the 9V battery (not included)
inside the twinkie. When the twinkie is set to 1/4" output mode, the
battery is in use as long as the microphone is plugged in. To save the
charge on your battery, unplug the microphone from the twinkie when it
is not in use. Use only rechargeable batteries.
The twinkie
does not require any special handling during transport- it's as rugged
and durable as it looks. If nothing else, you may want to put it in a
thick sock or pocket to protect other objects from it's corners.
This CD wallet makes an excellent carrying case that
can safely fit inside of your pandeiro's frame when it is stored or
transported, protecting both your drum and the microphone. (Thanks to
Claudio Santana for sharing this discovery.)
