MK300
Miktek, LLC Nashville TN, USA tel 615.250.2434 • fax 615.346.9298 ©2009-2016 All Rights Reserved, Miktek, LLC. Printed April, 2016 v3_1 www. miktekaudio.
Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 - 4 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Operating the MK300 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Congratulations and thank you for purchasing the MK300 Large Diaphram FET Condenser from Miktek! We know there are a lot of pretty good low cost microphones available today, but you’re in an elite group of audio engineers where pretty good is just not good enough. Simply put, that’s why we make our products. In the following sections of this manual you will find a description of the MK300’s features, step-by-step set-up and operating instructions along with detailed specifications.
Introduction The Miktek MK300, multi-pattern, large diaphragm FET condenser will impress the most critical listeners and inspire artists to create their best performance. The microphone’s polar characteristic is selectable; offering cardioid, omni and bidirectional pick-up patterns. In addition, the MK300 employs a high-pass filter and –10dB pad for recording loud sound sources. The frequency response is warm on the bottom and silky-sweet on the top, yet at the same time, the midrange is natural and open.
Introduction With proper care your MK300 will operate trouble free for many years. We recommend you record your serial number in the space provided below for future reference. Serial number:_______________________________ Date of purchase:____________________________ Be sure to complete the included warranty registration card or visit miktekaudio.com to register on line.
MK300 Features 77 Multi Pattern FET Condenser 77 Pressure Gradient Transducer- 1-inch Dual Diaphragm Capsule 5-micron Mylar, Evaporated Gold Diaphragms 77 Cardioid, Omni and Bi-directional Pick-up Patterns MK300 77 Selectable High-pass Filter & -10dB Pad 77 Custom designed Miktek T-301 Output Transformer 77 Rugged die cast metal construction, sleek black finish 77 Includes Shock-mount, Swivel-mount and vinyl carry pouch 5
Operating the MK300 Using the Polar Patterns Perhaps the most important aspect of using your MK300, or any other microphone, is to understand its available polar pick up patterns. Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal coming from various areas around the microphone capsule. You can use the MK300’s polar pattern switch to select one of the three available polar patterns.
Operating the MK300 Connecting your MK300 Connect the MK300 to your mixer, mic pre or DAW(Digital Audio Workstation) using a standard XLR microphone cable. In order to ensure the proper phase response, please note the MK300’s output connecter is wired as Pin 1 Ground, Pin 2 hot or positive, and Pin 3 cold or negative.
Operating the MK300 Setting Up the Signal Level In order to get a good signal, first be sure that the MK300 is connected to a mixer or recorder input that is microphone level. As explained in the previous section “Powering the MK300”, be sure that the Phantom power is turned on. Most quality mixers, mic pres and DAW’s provide microphone inputs with a mic trim (“trim” is jargon. the control is usually called Mic Gain or Level) control.
Operating the MK300 monitor the signal through a set of good quality closed-back headphones and take notice to how just a slight adjustment can make a huge change in frequency response. As you’re changing the microphone’s position, be sure to check that the mic input is still set to a good level without clipping, as described in the previous section. The Proximity Effect All cardioid or uni-directional microphones exhibit a phenomenon known as “proximity effect”.
Operating the MK300 Installing the SMS3 Shockmount MK300 MK300 The MK300 kit comes with a SMS3 shockmount, which you can use to greatly reduce any noise transmitted through the mic stand. The shockmounts are especially useful in reducing the problems caused by a boomy soundstage, for example when miking overhead cymbals, or even in the studio with talent that likes to move a lot on a floor that may not be as solid as it should be.
Applications Guide The MK300 is a great microphone choice for many instrument miking situations. Below is a brief guide on using the MK300 in some typical applications. But as a general rule of thumb, before you use a typical placement, carefully listen to what you are miking by having the artist play a practice track. Take a walk around the artist as they are playing and listen to what the instrument sounds like from different positions. Move left and right. Listen over the artist’s shoulders.
Applications Guide Acoustic Guitar There are a variety of ways that the MK300 can be used to mic an acoustic guitar. The correct placement will depend on the type of instrument and what kind of sound you’re looking to capture, for example the tonal quality you want to focus on, and how much finger slide or pick noise you may or may not want.
Applications Guide Piano You can achieve outstanding results using the MK300 on acoustic piano. Several placement approaches can be used depending on the size of the piano, and the type of sound you are looking to record. When miking a Grand Piano, (for an ambient sound like that used in a classical recital), a single MK300 can be positioned directly in front of the instrument. Open the lid to the full position and place the microphone five to twelve feet in front of the instrument.
Applications Guide Strings Place the MK300 one to three feet from the instrument when recording a solo string instrument like a violin. When recording a string section, try to position one or more MK300’s several feet from the players. If the size of the room permits, raise the microphones three or four feet above the section and position them at a 45-degree angle, facing down.
Stereo Miking Techniques Stereo Miking Techniques Recording instruments like acoustic guitar, piano and drums, or ensembles (especially in classical or jazz), in stereo will provide a much more realistic experience for the listener. You can create a stereo recording by simply using your mixer’s or DAW’s pan controls to place different instruments in between the left and right speakers.
Stereo Miking Techniques Coincidental - XY or Crossed pairs Coincidental microphone set ups are where the two microphones’ capsules are set close together on the same axis. The most common of these is XY or crossed pairs. In the XY set up, the two microphone capsules are positioned on the same axis, one directly above the other with the capsules positioned on an angle from 90 to 120 degrees. The wider the angle, the wider the stereo spread.
Stereo Miking Techniques Guide 17 Figure-8 MK300 above or below the first, but with the capsules positioned at a 90-degree angle from the front. The outputs of the two microphones are often connected to a special MS matrix mixer, which combines the mid signal with the signal of the side microphone, both in phase and out of phase. The matrix mixer’s ratio control now used to set the balance between the mid mic and the combined signal of the side mics to adjust the width of the stereo spread.
Stereo Miking Techniques Near Coincidental Near coincidental or AB mic set up uses two matched microphones set relatively close together, facing in opposite directions. The spacing between the microphones creates a time delay adding to the stereo effect. The greater the angle the greater the stereo spread. Less of an angle yields a more narrow spread.
Stereo Miking Techniques MK300 Baffled MK300 The instruments in the center of the two microphones will be heard midway between the left and right speaker. With greater distance, the off center images are less focused or more diffused. This set-up tends to capture more ambience from the acoustical space, which can be very pleasant to the listener, however the signal tends not to be mono compatible.
MK300 Specifications 77Type. ......................Large Diaphragm Multi-Pattern FET Condenser 77Polar Pattern..........Cardioid, Figure-8 and Omni 77 Frequency Response 20~20000Hz 77Sensitivity..............-35 dBV/Pa 77 Equivalent Noise Level 15 dB 77Max. SPL. ..............137 dB 77Power Supply. ........48V phantom Specifications are subject to change without notice.
MK300 Specifications 77 MK300 Typical Frequency Response 21 77 MK300 Polar Response
www. miktekaudio.com 348B Valeria Street• Nashville, TN 37210 tel 615.250.2434 • fax 615.346.9298 ©2009 All Rights Reserved, Miktek.
