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Table of Contents
- 1 Table of Contents
- 2 Background to Boundary Microphones
- 3 How the Boundary Microphone Works
- 4 The PCC Microphone
- 5 Boundary Microphone Techniques for Recording
- 6 Grand Piano
- 7 Boundary Microphone Techniques for Sound Reinforcement
- 8 PZM Boundaries
- 9 The SASS PZM Stereo Microphone
- 10 How to Use the SASS Microphone
- Download this manual
PZM, PCC, SASS AND BOUNDARIES
© 2000 Crown International, All rights
reserved PZM
, PCC
, SASS
®
®
DIFFEROID
, are registered trademarks of
®
Crown International, Inc. Also exported
as Amcron
®
127018-1
7/00
and
®
Crown International, Inc
P.O. Box 1000, Elkhart, Indiana 46515-1000
(219) 294-8200 Fax (219) 294-8329
www.crownaudio.com
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Summary of Contents for Crown PZM-10
- Page 1 PZM, PCC, SASS AND BOUNDARIES © 2000 Crown International, All rights reserved PZM , PCC , SASS ® ® ® DIFFEROID , are registered trademarks of ® Crown International, Inc. Also exported as Amcron ® 127018-1 7/00 Crown International, Inc P.O.
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Page 2: Table Of Contents
Contents Background to boundary microphones How the boundary microphone works The PCC microphone Boundary microphone techniques for recording Boundary microphone techniques for sound reinforcement PZM boundaries The SASS PZM stereo microphone How to use the SASS microphone... -
Page 3: Background To Boundary Microphones
Crown boundary microphones include the PZM, PCC, MB, and SASS series microphones. This guide explains how they work and how to use them. For information on the CM, GLM, and LM models, please see the Crown Microphone Application Guide. BACKGROUND... -
Page 4: How The Boundary Microphone Works
® Zone Microphone (developed by Ken Wahrenbrock). ® s are now manufactured by Crown International, the first company licensed to the build microphones using the Pressure Recording Process. The Pressure Zone is the region next to the boundary where the direct and reflected waves are in-phase (or nearly so). -
Page 5: The Pcc Microphone
Fig. 5 shows the difference in construction and polar patterns of the PZM and PCC. In the Crown PCC, the microphone diaphragm is small enough so that any phase cancellations are above the audible range (Fig. 6). This results in a wide, smooth fre- quency response free of phase interference. -
Page 6: Boundary Microphone Techniques For Recording
Follow the 3:1 rule: When multiple microphones are mixed to the same channel, the distance between the microphones should be at least three times the mic- to-source distance. This procedure reduces phase inter- ference between the microphones. For example, if two microphones are each placed 2 feet from the instruments they cover, the mics should be at least 6 feet apart. -
Page 7: Grand Piano
• For singers who accompany themselves on a piano, mount two PZMs on opposite sides of a panel. Place the panel about where the music rack would be. For stereo, use a longer panel with two microphones on each side of the panel. Amplifier/speaker for electric guitar, piano, bass: •... - Page 8 These large sound sources typically are recorded at a distance, using two microphones for stereo pickup. • Mount a PZM 6 inches from the edge of a 2-foot square panel. Mount another PZM similarly on another panel.
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Page 9: Recording A Conference
Recording a conference: Note: These suggestions are for recording, not for teleconferencing sound reinforcement. For teleconfer- encing sound reinforcement applications, see the Crown Microphone Application Guide for Teleconferencing and Distance Learning. For maximum clarity, hold the conference in an acousti- cally “dead”... -
Page 10: Boundary Microphone Techniques For Sound Reinforcement
• Try the ceiling or corner placements mentioned above. • Use a PZM-10, PZM-10LL, PZM-11, or PZM-11LL. The PZM-10 flush-mounts in a ceiling or wall. The PZM-11 mounts in an electrical outlet box. Lectern: • Place a PCC on the lectern shelf top, outside of any cavities (Fig. -
Page 11: Pzm Boundaries
Fig. 17 Conferences, teleconferences, group discussions, interviews: See the Crown Microphone Application Guide for Teleconferencing and Distance Learning. Drama, theatre, musicals, opera • Try one to three PCC-160s across the front edge of the stage, about 1 foot from the edge of the stage (Fig. 18). -
Page 12: Frequency-Response Effects
Only PZMs can be used effectively in multiple boundaries. The size, shape and number of boundaries all have pro- found effects on the performance of a PZM mounted on those boundaries. - Page 13 Fig. 22 As Fig. 23 shows, the low-frequency shelf varies with the angle of the sound source around the boundary. At 90 degrees incidence (sound wave motion parallel to the boundary), there is no low-frequency shelf. Fig. 23 The depth of the shelf also varies with the distance of the sound source to the panel.
- Page 14 Many users claim that the sound quality and flexibility if multiple-boundary PZMs outweigh the disadvantages. For those users who need a directional PZM but prefer not to use boundaries, Crown makes the PCC®-160 and PCC-170, which are supercardioid surface-mounted mi- crophones. They use a directional mic capsule, rather than boundaries, to make the microphone directional.
- Page 15 rejection. Many vendors can heat and shape the plastic according to your specifications. They use their own ad- hesives which are usually proprietary. Cyanoacrylate adhesive (“Super Glue”) or RTV (“Sealastic”) have worked well in some instances. Or you can join several pieces of plastic with metal brackets, bolts and nuts.
- Page 16 Fig. 30 – PZM 2.5 PZM-2.5 This model provides about 10 dB of forward gain at mid frequencies compared to a PZM on the floor. The assem- bly is placed on a large horizontal surface such as a stage floor. An 18"tall unit works well for speech pickup of drama, musicals, and opera;...
- Page 17 The dish is not a parabolic microphone. The PZM is placed on the dish, rather than at the focus of a parabolic surface. The dish obtains its directionality from diffrac- tion (blocking sound waves from certain directions), while a parabolic microphone obtains its directionality by focusing sound energy from a particular direction on the mic capsule.
- Page 18 A complete descrip- tion of the L Array is in AES preprint 2025 (C-9), “The Use of Boundary Layer Effect Microphones in Traditional Stereo Miking Techniques, ” presented at the 75th Convention of the Audio Engineering Society, October 1983.
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Page 19: The Sass Pzm Stereo Microphone
But recent research has led to a unique application using PZMs on a smaller head-size boundary: The Crown SASS microphone. The Crown SASS® or Stereo Ambient Sampling System is a new kind of stereo microphone. It does an excellent job recording sounds in stereo, such as: •... - Page 20 Thus, the right channel will be louder and you’ll hear the image to the right. With spaced-pair miking, a pair of microphones is placed several feet apart, aiming straight ahead (Fig 53). Sounds from a source toward the right will reach the right mic sooner than the left mic, simply because the right mic is closer to the sound source.
- Page 21 How the SASS Works Back to the SASS. It uses two small microphones spaced a few inches apart. Each microphone is on a surface that blocks sound from the rear, and these surfaces are angled apart (Fig. 55). In other words, the surfaces make the microphones directional.
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Page 22: How To Use The Sass Microphone
It has excellent bass response extending to 20 Hz. Simple to Use Mid-side stereo microphones require a matrix box be- tween the microphone and recorder. This box converts the mid and side signals from the microphone to left and right signals for stereo recording. - Page 23 Because of its light weight, the SASS can be mounted on a fishpole, floor stand, boom stand, or tripod, in addition to the handgrip. CHOOSING THE RIGHT CROWN BOUNDARY MICROPHONE Application Recording Multiple Boundary Recording/P.A.
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