Electro-Voice nd478 eds User Manual

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The N/D478’s acoustic response presents optimal performance in both a
live sound or studio environment.The new “vocally optimized bass” or
VOB

™

technology provides the instrumentalist with reduced resonant

distortion at low frequencies. Critical damping of the low frequency
resonant peak has resulted in a microphone that replaces the “muddiness”
found in competitive models with greater warmth and increased clarity.
The result is a exceptional performing instrument microphone with clean,
clear, consistent sound that “cuts through the mix.”

• VOB

™

technology provides tailored bass response for controlled

“proximity effect” and exceptional sound clarity

• Excellent choice for micing acoustical or electrical instruments

whether in a live sound or studio environment

• Neodymium based magnet provides greater sensitivity and signal

to noise ratio

• Cardioid pattern for superior feedback rejection and acoustic isolation

• Warm  Grip

™ 

handle for comfortable feel and lower handling noise

The low frequency response of the N/D478 microphone varies with the
distance from the sound source. Known as “proximity effect,” maximum
bass response is produced in “close-up” use with the microphone 1/4 inch
from the sound source. Normal bass response is experienced with working
distances greater than 24 inches.Working close to the microphone will
produce a more robust sound. Close up positioning of the microphone
will also reduce the potential for feedback from the sound reinforcement
system.When close-miced, the bass-boost provides an increase in overall
microphone output level.The mixer gain may be proportionately reduced,
resulting in a reduction of the system’s sensitivity to feedback caused by
sound entering the microphone from the loudspeakers.

N/D478

Please note that micing techniques are a matter of personal preference.
These are merely guidelines to assist in the placement of the microphone to gain optimal performance.

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.

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.

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.

Place microphone one to two feet above the top of cymbals.

Place 5 inches above outside edge at a 45° down angle.

6-24" away, and on axis with the bell of the instrument.

Place mic 6-12" from where finger board joins the body.