Designed to yield outstanding performance in applications requiring the miking of acoustic and electric instruments, as well as vocal performances.
Features
| | • Designed to yield outstanding performance in applications requiring the miking of acoustic and electric instruments
| • Can Also be used for Vocal Performances
| | • Can Also be used for Vocal Performances
| • Excellent for Stage or Studio
|
Details
Designed to yield outstanding performance in applications requiring the miking of acoustic and electric instruments, as well as vocal performances. Excellent for stage or studio, the Co4’s versatility will make it a "must have" in any microphone mix.
The Cobalt™ microphones are the newest offensive of EV to the audio market, making quality affordable. All microphones come with a stand adapter and a zippered vinyl carrying pouch. Use Co4 for Instruments and the others for vocals, for which Co7 is the “killer”. A users manual helps beginners to handle their new Cobalt™ microphones the right way.
Microphone Use and Placement
Please note that miking techniques are a matter of personal preference.These are merely guidelines to assist in the placement of the microphone to gain optimal performance.
Standard Placement & Use Guidelines
1. Always point the microphone at the desired source of sound, and away from any unwanted sources.
2.The microphone should be located close to the sound source to minimize interference from other potential sound sources.
3. Use the 3-to-1 rule when using multiple microphones. Place each microphone three times farther from other microphones as from the desired sound source.
4. Minimize over-handling of the microphone to reduce unwanted mechanical noise.
5.Working close to the microphone will increase the bass
tone and also provide increased gain-before-feedback.
| Usage |
Optimal Placement |
| Electric Guitar and Bass Guitar Amplifier |
Place microphone approximately 1-2" from and at a 90° degree angle to the speaker cone. To reduce boominess, move the microphone off axis to the cone from 90° to 45°, or move mic from center of cone to either edge. |
| Tom-Toms |
On double headed Toms place mic over the top of drum 1-3" and at a 45° angle to the drum surface and 1-2" in from the drum edge. On single headed Toms use above method or place mic inside Tom from underneath at a 90° angle from the center of head, 3-5", away. |
| Snare Drum |
Place mic 1-3" above the heads, 1-2" in from the rim. Aim each mic at the top heads angled down about 45°. If the drum rings, tape deadening material to the head or use damping rings. For more “snare” sound place a 2nd mic underneath aimed up at the bottom of head. |
| Cymbals |
Place microphone one to two feet above the top of cymbals. |
| High-Hat |
Place 5 inches above outside edge at a 45° down angle. |
| Brass |
6-24" away, and on axis with the bell of the instrument. |
| Acoustic Guitar |
Place mic 6-12" from where finger board joins the body. |
| Element |
Dynamic
Neodymium magnet structure |
| Polar pattern |
Cardioid |
| Impedance, Low-Z balanced |
600 ohms |
| Frequency Response (-3 dB) |
50 - 18,000 Hz |
| Open Circuit Voltage (at 1,000 Hz) |
2.2 mV/Pascal |
| Power requirement (Phantom power) |
N/A |
| Magnetic Circuit |
N/DYM® |
| Case Material |
Die cast zinc |
| Finish |
cobalt |
| Included accessories |
Stand adapter,
zippered vinyl carrying pouch
hard-shell case |
| Connector type |
3-pin XLR |
| Dimension (Length x max. Diameter) |
148 x 23 mm |
| Weight net |
340 g |
|
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