Spec Sheet

Countryman Associates, Inc. 195 Constitution Drive, Menlo Park, CA 94025 US: [phone] Intl: 650-364-9988 F: [phone]
[e-mail] For more information and warranty registration visit www.countryman.com Made in the United States.
Which pattern should I choose?
To get the best performance, know the angles where your microphone is most sensitive to sound,
and which angles offer the best rejection of unwanted sounds.
• The omnidirectional pattern picks up all sounds from all directions equally. It has the attest
frequency response, the lowest noise level, and is the least susceptible to wind noise and
vibration. The omnidirectional microphone is often used for recording and sound reinforcement
of acoustic instruments such as percussion, guitar, saxophone, and piano.
• The cardioid pattern is most effective at picking up sound directly in front of the microphone,
and is least sensitive to sound directly behind the microphone. Overall the cardioid picks up
about 1/3 less ambient noise than the omnidirectional, so the working distance (the distance a
performer could be positioned from the microphone) is approximately 1.7 times that of the omni.
The cardioid is an excellent choice when you can position the microphone directly toward the
sound you wish to record (a lead singer, for example) and directly away from unwanted sound
sources (a crowd or loud monitor).
• The hypercardioid pattern has a narrower pick up pattern in front than the cardioid, overall
better rejection of ambient noise, and the working distance is about twice that of the omni. The
hypercardioid has a small “pick-up lobe” directly behind the microphone. This means that the
maximum rejection areas are behind and to the sides (about 60 degrees away from the rear of
the microphone on either side). The hypercardioid is the best choice when the loudest unwanted
sounds—like speakers—can be positioned in these nulls.
ISOMAX 2 All-Purpose: Frequently Asked Questions
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cardioid
hypercardioid
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omnidirectional
For mono: use double-sided foam tape to
attach an ISOMAX 2 Omni facing the lid of
the grand piano near the center board, or
positioned over the strings on a mic stand.
For stereo: place two ISOMAX 2 Cardioid
mics on edge 1/8” apart facing left and
right. The lid should always be open 3” to
6” (Closing the lid creates a “boxy” sound.)
If the lid must be closed or removed,
place an ISOMAX 2 Omni on one
of the support braces near the
middle of the instrument, as shown.
Experiment with placement to avoid
resonances. For stereo try one on
the long support near the middle and
one near the upper treble section.
For upright pianos try afxing an ISOMAX
2 Omni to one of the central backposts,
as shown. Experiment with placement as
not all parts of the soundboard resonate
the same. Two mikes in different areas
should yield even better results.
How can I mic a saxophone?
Choose the ISOMAX 2 Omni if you want to include ambient sound; choose the hypercardioid for maximum isolation and gain.
The ISOMAX 2 Sax and Horn Clip has
foam-covered jaws that tightly grip the
bell, with a stiff but adjustable wire that
can be positioned at the center of the bell
or twisted at the screw to capture sound
through the keys.
The ISOMAX 2 Basic Clip also works
well when mounted at the top of the
bell with the microphone positioned
down, pointing inward.
A more mellow sound is achieved by
placing and ISOMAX 2 Omni microphone
2-3 inches down inside the bell using
double-sided tape. Experiment with the
face side down or up (do not cover the
screen).
How can I mic a piano?