Carvin cm98st 用户手册
CM98ST CONSTRUCTION AND CARE
CM98ST Introduction:
The CM98ST is a studio quality, multi-purpose Large Diaphragm Tube
Condenser microphone. It features a Gold Sputtered, 6 micron element
and premium, low noise tube preamp electronics, all suspended in a hand-
some, rock solid, machined casing. The CM98ST also features a 10 dB
pad switch for easy handling of really hot signals and a low cut switch
for reducing rumble and wind noise. This versatile microphone was devel-
oped with the pro studio in mind; so it is equally adept at reproducing
stunning vocal performances as it is at capturing the subtlest nuances of
a fine acoustic guitar. And with a maximum SPL of 135dB (145 dB with
10dB pad switch engaged), the CM98ST is also an excellent instrument
and percussion microphone. The Carvin CM98ST is your affordable ticket
to awesome studio sound!
and premium, low noise tube preamp electronics, all suspended in a hand-
some, rock solid, machined casing. The CM98ST also features a 10 dB
pad switch for easy handling of really hot signals and a low cut switch
for reducing rumble and wind noise. This versatile microphone was devel-
oped with the pro studio in mind; so it is equally adept at reproducing
stunning vocal performances as it is at capturing the subtlest nuances of
a fine acoustic guitar. And with a maximum SPL of 135dB (145 dB with
10dB pad switch engaged), the CM98ST is also an excellent instrument
and percussion microphone. The Carvin CM98ST is your affordable ticket
to awesome studio sound!
Construction and Shockmount:
The internally braced CM98ST capsule is precision mounted behind a
heavy mesh screen of perforated metal with large openings that offers
complete protection while maintaining total “acoustic transparency”.
Nestled below, is the low noise, class A circuitry surrounded by the solid,
machined outer shell. When used with the low cut switch on along with
the included Shockmount, low frequency vibration and handling noise are
virtually eliminated (-72 dB below 40Hz)!
complete protection while maintaining total “acoustic transparency”.
Nestled below, is the low noise, class A circuitry surrounded by the solid,
machined outer shell. When used with the low cut switch on along with
the included Shockmount, low frequency vibration and handling noise are
virtually eliminated (-72 dB below 40Hz)!
Power Supply:
The CM98ST comes standard with a heavy duty phantom power supply,
ensuring you will never experience noise or distortion during loud
dynamic passages due to insufficient current. The power supply connects
to the CM98ST conveniently via the included 7-pin gold XLR mic cable.
It also features 9 different selectable polar patterns including omni, car-
dioid and figure-8.
*Note: Carvin is not responsible for damage to your CM98ST caused by
an alternate power supply.
dynamic passages due to insufficient current. The power supply connects
to the CM98ST conveniently via the included 7-pin gold XLR mic cable.
It also features 9 different selectable polar patterns including omni, car-
dioid and figure-8.
*Note: Carvin is not responsible for damage to your CM98ST caused by
an alternate power supply.
Flight Case:
The CM98ST, shockmount, power supply and cables, all fit snugly and
safely in a high grade, aluminum alloy flight case so you know your micro-
phone and accessories are well protected between sessions or during travel.
Carvin recommends returning your CM98ST to this case after each use.
phone and accessories are well protected between sessions or during travel.
Carvin recommends returning your CM98ST to this case after each use.
Care:
Tube condenser microphones do not like to be dropped, tapped, blown
into, shaken or stirred. The gold sputtered element is very thin and frag-
ile and can easily be stretched or knocked out of alignment. This is true
of all large diaphragm condensers. Be very careful with your CM98ST!
If you drop it from any distance, the resulting damage will not be cov-
ered under your warranty.
ile and can easily be stretched or knocked out of alignment. This is true
of all large diaphragm condensers. Be very careful with your CM98ST!
If you drop it from any distance, the resulting damage will not be cov-
ered under your warranty.
Additionally, these mics don’t like moisture. It is always advisable to
use a pop screen (Carvin part #WS87)when micing vocals to avoid not
only overly accentuated “P”, “B”, and “S” sounds, but also to keep unwanted
moisture off of the element. Over time, moisture on the element can attract
airborne dust and dirt particles and gradually degrade the performance
of your mic. Carvin advises that the microphone be kept in its flight case
at all times when not in use. Take a few minutes after every session and
put your mic away properly to help ensure years of top notch performance.
Additionally, always make sure the silicone “moisture absorber” (little white
packet with crystals in it) is packed in the case with your microphone.
This will help to eliminate any moisture or humidity in the case during
storage. You can re-activate a saturated “moisture absorber” by baking
it in an oven at 250 degrees for about 30 minutes. The outer shell of your
mic can be cleaned with a soft damp cloth. Do not use harsh detergents,
solvents, or abrasive materials.
only overly accentuated “P”, “B”, and “S” sounds, but also to keep unwanted
moisture off of the element. Over time, moisture on the element can attract
airborne dust and dirt particles and gradually degrade the performance
of your mic. Carvin advises that the microphone be kept in its flight case
at all times when not in use. Take a few minutes after every session and
put your mic away properly to help ensure years of top notch performance.
Additionally, always make sure the silicone “moisture absorber” (little white
packet with crystals in it) is packed in the case with your microphone.
This will help to eliminate any moisture or humidity in the case during
storage. You can re-activate a saturated “moisture absorber” by baking
it in an oven at 250 degrees for about 30 minutes. The outer shell of your
mic can be cleaned with a soft damp cloth. Do not use harsh detergents,
solvents, or abrasive materials.
-10db
a) Shockmount
The shockmount will fit any standard mic stand. It is designed to hold the
CM98ST mic while reducing low frequency vibration. Place the CM98ST mic
into the shockmount cradle and thread the mic clockwise until it is snug. You
may also invert the shockmount so the mic is suspended.
CM98ST mic while reducing low frequency vibration. Place the CM98ST mic
into the shockmount cradle and thread the mic clockwise until it is snug. You
may also invert the shockmount so the mic is suspended.
b) Low cut switch
The Low Cut switch helps eliminate boomy low end frequencies (-6dB @ 80Hz)
c) 10dB pad switch
This switch changes the mic’s maximum Sound Pressure Level (SPL) of 135 dB
to 145 dB. Switch to an SPL of 145 dB when recording loud sources.
to 145 dB. Switch to an SPL of 145 dB when recording loud sources.
c) 10 dB pad
b) Low Cut
a) Shockmount
ON
POWER
TUBE MIC POWER SUPPLY
DIRECTIONAL PATTERN
top view of mic
top view of mic
top view of mic
An Omni-directional pattern will give your mic the abil-
ity to pickup sound from all directions. This is ideal for
recording sounds that emanate from multiple directions.
ity to pickup sound from all directions. This is ideal for
recording sounds that emanate from multiple directions.
The Cardioid pattern is ideal for single instrument or vocal
use. The pattern picks up only sound directly in front of
the mic. Sound from the other direction is rejected.
use. The pattern picks up only sound directly in front of
the mic. Sound from the other direction is rejected.
Bi-directional or Figure 8 will hear sound from both front
and back. This is ideal for recording a main sound while
still picking up room ambience from behind or duets with
two vocalists.
and back. This is ideal for recording a main sound while
still picking up room ambience from behind or duets with
two vocalists.
DIRECTIONAL POLAR PATTERNS
The CM98ST power supply includes a switch to change the mic’s direc-
tional polar pattern. The three primary patterns are Omni, Cardioid and
Bi-Directional or also known as Figure 8. The stages inbetween will grad-
ually change the directional pattern and can provide some very useful and
subtle tone and response variations to suite your recording needs.
Bi-Directional or also known as Figure 8. The stages inbetween will grad-
ually change the directional pattern and can provide some very useful and
subtle tone and response variations to suite your recording needs.