Crown's Quarterly Microphone Newsletter Bruce Bartlett, Editor

Summer 2000

How a Mid-Side Mic Array Creates Left and Right Polar

Patterns
Suppose you assemble a mid-side mic with a
forward-aiming (mid) cardioid pattern and a
side-aiming bidirectional pattern. You feed the
mid and side signals to a sum-and-difference
matrix. The output of the matrix is a left-aiming
polar pattern and a right-aiming polar pattern.
When you vary the mid/side ratio, the left and
right patterns change shape and direction. As you
increase the mid/side ratio from 0 to 10, the resulting left and right polar patterns change like
this:
bidirectional > hypercardioid >
supercardioid > cardioid
Simultaneously, the axes of the polar patterns
rotate from left and right to straight ahead. That
is, the axes rotate from +/- 90 degrees to 0 de-

grees, where 0 degrees is straight ahead.

As you increase the mid/side ratio from 0 to 10,
the perceived stereo spread varies from wide to
narrow.
When the mid/side ratio is 1:1 (that is, the mid
mic and side mic are at equal levels), the left and
right polar patterns are halfway between hyperand super-cardioid, with their axes pointing 65
degrees toward the left and right.
Now suppose you assemble a mid-side mic with
an omnidirectional mid mic and a bidirectional
side mic, and matrix them together. As you increase the mid/side ratio from 0 to 10, the resulting left and right polar patterns change like this:

bidirectional > hypercardioid >

supercardioid > cardioid > subcardioid
> omnidirectional
The axes of those polar patterns always aim +/90 degrees left and right.
As you increase the mid/side ratio from 0 to 10,
the stereo spread varies from wide to narrow.
When the mid/side ratio is 1:1 (that is, the mid
mic and side mic are at equal levels), the left and
right polar patterns are both cardioid, aiming +/90 degrees toward the left and right.

Crown Mics Used by TLC, Will Smith

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Featured Inside

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[source: http://images.mp3.com/mp3s/images/tlc/lopes04.jpg]

TLC, a hot group of three women, bridges the gap

between rap, hip hop, pop and soul. According to the
Live Soundarticle in the April 2000 issue of Mix,
they use the Crown CM-311A for vocals on stage.

[source: http://www.geocities.com/hollywood/set/2995/private16.jpg]

Will Smith sang into a CM-311 headworn mic in

the 1999 MTV awards, and while hosting the
Millennium Celebration in Washington D.C. on
December 31, 1999.

How a Mid-Side Mic Array Creates Left

and Right Polar Patterns
Crown Mics Used by TLC, Will Smith
A PZM Mid-Side Microphone
The Crown SASS Does Surround!
PZM Piano Miking
Letters from Crown mic users

Mic Memo

A PZM Mid-Side Microphone

Using two PZMs, you can create an MS mic array
with an omni mid signal and a bidirectional side
signal. Mount two PZM mics on either side of a
large boundary, such as a 2 ft x 2 ft panel. Aim the
edge of the panel at the sound source. Now you
have a left-aiming PZM and a right-aiming PZM
which are virtually coincident (Fig. 1).

Figure 3 shows how to sum-and-difference the

mid and side signals to get left and right signals.
By varying the mid/side fader ratio in Mixer 1, you
can vary the stereo spread.

Heres how the PZM mid-side microphone works:

Mid = L+R
Side = L-R
In Mixer 1, we are summing the left and right
signals to channel 1 (using
pan pots 1 and 2). This
creates the mid signal. We
are differencing the left and
right signals and sending
them to channel 2 (using
pan pots 3 and 4). This
creates the side signal.
Mid + Side = (L+R) + (LR) = 2L

Fig. 1
Figure 2 shows how to create a mid and side signal from these two PZMs by using Y-cables, polarity reversers, and a 4-input mixer.

Fig. 3
Heres an easier way to vary the stereo spread:
Simply connect the left PZM to fader 1. Connect
the right PZM to fader 2. To get a wide stereo
spread, pan the left PZM hard left, and pan the
right PZM hard right. To get a narrow stereo
spread, twist both pan pots partway toward the
center.

Fig. 2

In Mixer 2, we are summing the mid and side

signals to the left channel
(using pan pots 1 and 2). So we get a left signal
from Mixer 2s left channel.
Mid - Side = (L+R) - (L-R) = 2R
In Mixer 2, we are differencing the mid and side
signals and sending them to the right channel
(using pan pots 3 and 4). So we get a right signal
from Mixer 2s right channel.

Mic Memo

The Crown SASS

Does Surround!
GTN soundmixer Gary Pillon told us that the
Crown SASS-P MKII stereo mic works great with
the Lexicon AVR-7000 receiver to create a surround effect from SASS recordings.
The receiver has Logic 7, which extracts 5.1 surround information. You just add some satellites
and a subwoofer.
As Gary says,The receiver pulls the sound that is
behind the SASS into the rear and holds it there
stably. To prove it, play the Earth Mover recording
on the SASS Demo CD. The earth mover starts in
front, goes over your head, and drives out behind
you.
In the January 2000 issue of EQ, contributing editor Mike Sokol has this to say in the Questions and
Answers column:
Ive been experimenting with the Crown SASS-P,
which is a binaural-style mic, along with the AMS
Soundfield quad-capsule mic. Both of these can
be decoded via external processors to derive true
surround using two outputs from the Crown or
four outputs from the AMS in B-Format mode.
The Crown SASS-P can have rear surround extracted from the binaural signal.

PZM Piano Miking

Source: Sweetwater Sounds Technical Tip of the
Day

George Hanson
I have been the Stage Manager at the local Civic
Center here for many years and have seen [piano
miking] done a number of ways.The most common is, of course, the old mic on a boom stand.
However, as head of the television production at a
church I once attended, we tried several ways to
get the best sound for television without picking
up extraneous noises from the audience.
If you consider that the sound from a grand piano
comes from the sound board underneath, the best
place might be from the bottom.We tried that
with a standard mic and a PZM mounted on a
plexiglass backing. Both were somewhat effective
the PZM [was] probably the best but
both were still subject to extraneous audience
noises.
The very best we were able to obtain came from
mounting a PZM on the bottom side of the lid,
using the lid for the necessary hard surface backing.With the lid closed, it is virtually unnoticed
and blocks out all noises except somebody beating on the piano body.

Two things to watch out for: (1) be absolutely

certain the mic is mounted so it will not fall off
during performance, and (2) the microphone
cable does not droop onto the strings killing some
strings.
Why does this work well? A PZM is designed to
pick up in all directions more so than other instrumental mics. A Shure SM58, lets say, will tend
to pick up the sound the mic is closest to, i.e. bass
strings or high end. One or the other will typically
be weak.The PZM, on the other hand, mounted to
the lid, picks up more nearly all of the frequencies
of the instrument.You may need to pad the input,
again depending on the particular mic you use.
All of this is moot if your artist wants the lid off,
but we have found it really is the best way to pick
up the overall sound of the instrument.

Mic Memo
Greg Baum Sweetwater
I have had outstanding results miking upright
pianos by shoving a solitary Crown PZM mic up
underneath the piano. If the piano is sitting on a
naked wood floor, then the floor helps to act as a
sounding board. I found the lows to be thick, the
highs very clear and present and the mids to
shimmer.The labels and A&R people loved it. I
have tried other ways of miking, but I keep falling
back on this. Using two mics doesnt work as well
as using one. Once you get it positioned the sound
will blow your mind!

Don Herman, Jr.

Most uprights allow one to open the top, which
provides a place to put a pair of mics to pick up
the high and low strings. Putting the mic in the
cabinet has never worked well for me, however
too much boom and tizz. Ill usually put (or
prop) up the lid a bit (maybe 8" to 10") and mic
from the front, pointing the mics generally into
the piano but at an angle. Some nice resonant
effects can be had (also some bad resonance effects, of course) which add ambiance.This can be
a challenge on some uprights, like some
Steinways, which have the whole front section
open rather than the top. For these, miking from
the side may be better. In either case (no pun
intended!) a PZM or two on the lid (or front) (facing the strings) may work really well.

Its almost always necessary to fiddle with mic

placement (so what else is new?). I (or the player)
pound out some chords and arpeggios, recording
the same sequence using several initial placements to rough in the placement.Then I repeat
the procedure with finer adjustments to choose
the final positioning.You can get several sonic
signatures (bright vs.dark,grand-like vs.
honky-tonk, etc.) by doing this.
I generally also mic from the back (if its not flat
against the wall or I can move it) to help pick up
the soundboard, in addition to the top (or front)
mics. Mixed in at a lower level, or perhaps EQd so
its mostly bottom, the back mic can help fill out
the sound.

Letters from
Crown Mic Users
Just thought I would brag on Crown.
I have used the Shure/Countryman headset in the
past. When I went looking for two systems for my
church, I went with the Shure UC system... Along
with the HHs, lavs, and bodypacks, I purchased a
pair of your headsets.
WOW! Now I know why the big names use
them.
Scores big on sound, gain / feedback, fit, comfort,
durability, sound, cool flip down feature and best
of all sound :-)) Keep up the great products !!
Mark B. Jenkins
mbj@aeneas.net
Union City, Tennessee
USA

Microphones Available From Crown

CM Series

PZM Series

CM-700 Cardioid condenser, 30 Hz - 20

kHz, for high-quality recording or P.A. CM700MP is matched pair.

PZM-30D Studio PZM with switchable dual

frequency response (flat or rising). 5" x 6"
boundary plate. XLR connector.

CM-200A Handheld cardioid

condenser mic for stage vocals/instruments.
Warm, smooth, and articulate sound. Very
low handling noise and pop. Low-Z balanced.

PZM-6D Low-profile PZM for conference or

plexiglass panel. Switchable dual frequency
response (flat or rising). 2" x 3" boundary
plate. XLR connector on 15 foot cable.

CM-310A DIFFEROID Handheld differential condenser mic for stage vocals. Cardioid.
Warm, smooth sound. Extremely high gainbefore-feedback. Low-Z balanced.
CM-311A DIFFEROID Headworn differential
condenser mic for stage vocals and sportscasters. Extremely high gain-before-feedback. Battery belt pack. CM-311AE connects
directly to 9V wireless microphone transmitter. CM-311AHS mounts on Sony MDR-7506
headphones.
CM-312A Headworn hypercardioid mic for
stage vocals and sportscasters. Small and
light. Good gain-before-feedback. Battery
belt pack drives mixer or transmitter.
CM-312AE connects directly to wireless
microphone transmitter. CM-312AHS
mounts on Sony MDR-7506 headphones.
CM-30 Miniature supercardioid condenser
mic for inconspicuous overhead miking of
choirs, orchestra sections, theater stages,
conference tables, audience reaction. Electronics mount in electrical box.

PZM-20R Flush-mount PZM fits into a

square cutout or 4" x 4" electrical-outlet box
for permanent installations. Use one mic for
up to eight people. Screw-terminal output.
PZM-185 Tabletop, handheld or adaptermounted microphone. Built-in power-supply
interface, phantom power or internal battery. Fiber-reinforced, high-impact plastic
body and boundary. 7" long. XLR connector.

LM Series
LM-201 Supercardioid lectern
microphone with swivel mount for noisefree adjustment. Pop filter and shock mount.
Low-Z balanced. Powered by phantom or 1224V DC adapter.
LM-300A Economical and elegant dual
gooseneck mic that retains its shape.
Supercardioid condenser element. XLR
output, low-cut switch. Optional metalscreen grille and LM-300SM Shock Mount.

LM-301A Same as LM-300A but screws onto

a flange. Allows cable
to exit downward or out the side.

GLM Series
GLM-100 Miniature omnidirectional condenser microphone. High SPL capability.
Reduced pickup of handling noise and wind
noise. XLR connector on 8' cable. 20Hz 20kHz. Model GM-100E comes without
connector for connection to wireless microphone transmitter.

PZM-11 Security and surveillance microphone. Inconspicuous. Mounts in electrical

box. Screw-terminal output. PZM-11LL is
line level, powered by 24V AC, DC, or phantom.
PZM-11LLWR is water-resistant, line level,
powered by 24V AC or 12-24V DC. Mounts in
electrical box.

PCC Series

CM-10 Mini omni lavalier, phantom powered. CM-10E is same but without connector, for wireless microphone transmitter.

PCC-160 Supercardioid surface-mounted

microphone for stage floors, lecterns, and
news desks. Increases gain-before-feedback
and rejects sounds to the rear. XLR connector on 15-foot cable. Black or white.

CM-150 1/2" omni condenser

for free-field sound measurements, soundlevel meter, and pro
recording applications. CM-150MP is
matched pair.

PCC-170 Same as PCC-160 but attractively

styled for conference-table use. Mini XLR
connector on rear or stereo phone plug on
bottom. PCC-170SW has on/off membrane
switch.

SASS Series
SASS-P MKII PZM stereo microphone.
Wide, smooth frequency response. Sharp
and spacious imaging. Mono-compatible. No
matrix box required. Battery/phantom
powering. Low-cut switches. 20 Hz - 18 kHz.
All accessories included.
SASS-P MKII HC Same but without carrying case or accessories, lower cost.

Five styles of surface-mounted,

supercardioid mini mics. Some use MB-100
or MB-200 interface with programmable
switching and sensing. Inconspicuous, affordable multi-miking for conference tables,
security, distance learning, boardrooms, and
courtrooms.

LM-300AL Same as LM-300A but

5" longer.

PZM-10 Security and surveillance mic.

Inconspicuous. Mounts in drilled hole, XLR
output. PZM-10LL is line level, 12-24V DC
powered.

CM-31 Same as CM-30 but with cylindrical

electronics interface
and XLR connector.

MB Series

PCC-130 Same as PCC-170 but with cardioid

element and smaller. PCC-130SW has on/off
membrane switch.

GLM-200 Miniature hypercardioid condenser microphone. Increases gain-beforefeedback, reduces pickup of leakage, background noise and room acoustics. XLR
connector on 8' cable.

Microphone Warranty
Crowns professional microphones are guaranteed unconditionally against malfunction
from any cause for a period of three years
(one year for Sound Grabber) from date of
original purchase. Should one of our microphones malfunction, it will be replaced or
repaired at our expense, including all U.S.
round-trip shipping. This warranty does
not cover finish, appearance items, cable
or cable connectors. This warranty does
not cover normal wear and tear, malfunction due to abuse or operation at other
than specified conditions. See your Crown
dealer or representative for complete
warranty details or contact Crown direct
at 1-800-342-6939.