SP T3
Owner's Manual

4
OPERATION

StudioProjects
C1 Using a male to female 3-pin XLR cable, plug microphone in to gain device (preamp, mixing console, etc.), making sure that +48-volt phantom power is active and gain is not at a level sufficient to cause ear-splitting feedback through monitor speakers. Address microphone from the side (not the top of the grill) above the SP logo badge. If bass cut is required, select one of two featured high pass filters. 150Hz setting will attenuate low frequencies by 6dB/ octave starting at 150Hz. 75Hz. Setting will attenuate low frequencies by 6dB/octave at 75Hz. The �pad� switch reduces the signal level between the capsule and the circuitry. Engage -10dB or -20dB pad for very high sound pressure levels, which may otherwise overload microphone circuitry, causing distortion. C3 Using a male to female 3-pin XLR cable, plug microphone in to gain device (preamp, mixing console, etc.), making sure that +48-volt phantom power is active and gain is not at a level sufficient to cause ear-splitting feedback through monitor speakers. Address microphone from the side (not the top of the grill) above the SP logo badge. If bass cut is required, select 150Hz high pass filter. The �pad� setting reduces the signal level between the capsule and the circuitry. Engage -10dB pad for very high sound pressure levels, which may otherwise overload microphone circuitry, causing distortion. Use the three-way switch on the front of the C3, below the SP logo, to adjust the directional characteristics of the microphone between omnidirectional, cardioid and figure of eight: � Omnidirectional (O-shaped nomenclature): Sound from all directions is picked up by microphone without any side or rear attenuation. � Cardioid (Heart-shaped nomenclature): Some attenuation of sound occurs on sides and rear of microphone. � Figure of eight: Very significant attenuation of sound pickup on sides of microphone. Front and rear of microphone pick sound up equally, but 180° out of phase from one another. T3 Plug power supply into ac receptacle. Connect 3-pin male to female XLR cable to output jack on front of power supply. Use included 7-pin XLR cable to connect microphone to power supply. Ensuring that gain device (mixing console, preamp, etc.) is not at a sufficient level to cause ear-splitting feedback. Turn on microphone power supply. Address microphone from the side (not the top of the grill) above the SP logo badge. *Note � Power supply has 110v/240v switch. Ensure that switch is set to proper AC voltage for your region. This switch is set at the factory at the time of manufacture according to region, but a microphone purchased used, for instance, may have the incorrect voltage setting. *Another note � The presence of or lack of +48- volt phantom power will not affect operation of T3.

www.studioprojects.com
C4�Using a male to female 3-pin XLR cable, plug microphone in to gain device (preamp, mixing console, etc.) of course, all the while making sure that +48-volt phantom power is active and gain is not at a level sufficient to cause ear-splitting feedback through monitor speakers. Address microphone towards the grill mesh in the top of the microphone. Included with all C4 microphone pairs are two sets of capsules: two cardioid ( the ones with the holes around the circumference) and two omnidirectional (no holes around circumference). The threaded capsules may be changed by simply unscrewing one capsule and screwing another on to the amplifier body. Since the threads are delicate, take particular care not to �cross thread� the capsules during installation. It will not harm the microphone to change the capsule while still plugged in, but it will make a horrendous noise, so it is always best to perform this operation while the mic is unplugged, or the mic level is at minimum. If bass cut is required, select one of two featured high pass filters. 150Hz setting will attenuate low frequencies by 6dB/octave starting at 150Hz. 75Hz. Setting will attenuate low frequencies by 6dB/octave at 75Hz. The �pad� switch reduces the signal level between the capsule and the circuitry. Engage -10dB or -20dB pad for very high sound pressure levels, which may otherwise overload microphone circuitry, causing distortion. LSD2 Using the included 7-pin to dual 3-pin XLR breakout cable, plug microphone into 2channel gain device (preamp, mixing console, etc.), making doubly sure that +48-volt phantom powers are active and gain is not at a level sufficient to cause ear-splitting feedback through monitor speakers. Address microphone from side (not the top of the grill). The switches used to control the upper capsule are located on the front of the microphone above the SP logo badge, while the control switches for the lower capsule are found on the rear of the mic. If bass cut is required, select 150Hz high pass filter. The �pad� setting reduces the signal level between the capsule and the circuitry. Engage -10dB pad for very high sound pressure levels, which may otherwise overload microphone circuitry, causing distortion. Adjust upper grill by grasping and turning. It�s that simple! Further application information regarding the LSD2 can be found at the Studio Projects website: www.studioprojects.com/downloads.html

5

TROUBLESHOOTING�TIPS
No Sound Whatsoever: All C-series microphones require external voltage in order to operate. Verify that +48-volt phantom power (C1,C3,C4 & LSD2) is present. For T3, ensure that power supply is properly connected and power is on. Still No Sound (C1,C3,C4 & LSD2): Make sure microphone cable is XLR male to XLR female and connect only to inputs labeled �Mic In�, or �Microphone�, etc. The Back Of My C3/T3 Sounds Different From The Front When Set To Figure Of Eight: Are you monitoring with headphones while talking into the mic? If so, the back of the mic will sound strange. This is because the rear diaphragm of the microphone takes the sound of your voice and flips it 180° out of phase. Meanwhile, the lower frequency range of your voice travels in phase along your jaw line to your ears. When the out of phase signal from the headphones meets the in-phase signal from your ears, the two signals are phase cancelled. Since this effect only occurs during the conditions described above, it will not affect recordings.