Crown CM-200A User guide

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Crown International, Inc

P.O. Box 1000, Elkhart, Indiana 46515-1000

(219) 294-8200 Fax (219) 294-8329

www.crownaudio.com

PZM® , PCC®, SASS® and DIFFEROID®,are registered trademarks of

Crown International, Inc. Also exported as Amcron®

CROWN MICS FOR LIVE SOUND

CM-200A: Cardioid condenser mic. Sounds much

smoother and clearer than typical stage vocal mics.

Much less EQ is needed to make it sound good. The

CM-200A is stylish and has low handling noise. For

best results, use the included foam pop filter. The

CM-200A also makes a great all-around instrument

mic.

CM-310A: Differoid condenser mic. This mic has

the best gain-before-feedback and isolation of any

handheld mic you can buy. It’s a handheld version

of our popular CM-311A headworn mic. Be sure to

use it with lips touching the grille for best isolation.

The CM-310A also sounds good on snare drum, and

cuts down on leakage from the other drums and the

hi-hat.

HEADWORN MICS

CM-311A: Differoid condenser mic. The industry-

standard headworn mic, used by Garth Brooks,

Britney Spears, and many more. It has the best gain-

before-feedback and isolation of any headworn mic

you can buy. Adjust the headband and boom for

best fit, with the mic touching the lips for best

sound.

CM-311AE: Wireless version of the CM-311A, to

be used with your favorite wireless transmitter.

CM-312A: Hypercardioid condenser mic. For

situations where feedback and isolation are not

too critical. Sounds clear and natural. The mic is

to the side of the singer’s mouth. Adjust the mic

This guide describes Crown microphones suitable

for live music, and suggests how to use them for

best results.

HANDHELD MICS

position toward or away from the mouth to pre-

vent breath pops.

CM-312AE: Wireless version of the CM-312A, to

be used with your favorite wireless transmitter.

INSTRUMENT MICS

CM-700: Cardioid condenser mic. Flat response,

accurate sound, 151 dB maximum SPL! Sounds

great on acoustic guitar and piano, drum overheads,

toms, horns, sax. A useful accessory is the CM-

SM shock mount.

Suggested starting positions:

Acoustic guitar: About 8 inches from the 12th fret.

You might want to use the low-cut switch.

Piano: Mike the treble and bass strings with two

mics about 8 inches horizontally from the hammers

and 8 inches above the sound board. Some pianos

sound best with the bass mic toward the piano tail.

Drum overheads: About 2-3 feet over the drummer’s

head, about 2 feet apart. Or, crossed overhead as a

coincident pair.

Tom-toms: About 2 inches above the drum head

and 1-2 inches in from the rim.

Horns: About 1 foot in front. On-axis to the horn

sounds bright; off-axis sounds more mellow.

Sax: Several inches above the bell, aiming at the

tone holes.

GLM-100: Mini omni condenser mic. Flat response

from 20 Hz-20 kHz, accurate sound, 148 dB maxi-

mum SPL! Clips onto acoustic guitar, flute, horns,

sax, drums, fiddle, etc.

Suggested starting positions for the GLM-100:

Acoustic guitar: Tape the mic to the guitar body

about ½inch from the low E string, midway be-

tween the sound hole and bridge.

Flute: Tape the mic about 1.5”above the flute, be-

tween the lip plate and tone holes.

Trumpet, trombone: Use the GLM-UM universal

mount supplied with the GLM-100. Clip the mic

about 4”out front, off-center of the horn.

Drums: Use the GLM-UM universal mount supplied

with the GLM-100. Clip the mic to the drummer’s

right side of the snare drum rim, about 4 inches

above the rim. Put another mic in the kick. With

small kits, this single GLM can pick up the whole

drum kit. Boost the lows and highs a little.

Fiddle or violin:

•1”above an f-hole, held by a GLM-UM Universal

Mount clipped to the tailpiece .

•Under the strings, near the bridge, clipped ¼” over

the body .

•Glue some foam onto the mic capsule flex relief.

Insert the mic and the foam through the hole in the

bridge. The GLM mic “floats”between the strings

and the top of the violin.

•For loudest sound and best isolation, place the

GLM inside an f-hole, with the cable wedged into

the narrow part of the f-hole. For cable strain relief,

trap the cable under a rubber band stretched around

the fiddle. This method needs some EQ to sound

natural; try cutting at 100 Hz and 3 kHz.

SASS-P MKII: Stereo condenser mic. Excellent for

drum overhead miking. Toms sound deep, full-bod-

ied and close-up. Cymbals sound bright and crisp.

Place the SASS at least 3 feet above the snare drum.

PZM-6D®:Pressure Zone Microphone®. Prevents

phase interference when used on reflective surfaces.

Its tone quality is switchable between natural and

bright.

Suggested starting positions:

Acoustic piano: Tape two PZMs to the underside

of the raised lid, one over the treble strings and

one over the bass strings.

Kick drum: Mount the PZM so the plate faces the

kick-drum pedal inside the drum. Damp the drum

head with a pillow or blanket.

PCC-160®:Surface-mounted cardioid microphone.

Terrific in a kick drum –just lay it on a pillow or

blanket inside.

All Crown microphones are condenser mics which

require phantom power.

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