Audio-Technica PRO 45 Cardioid Condenser Hanging Microphones Specifications and Datasheet

Audio-Technica PRO 45 Cardioid Condenser Hanging Microphones

DESCRIPTION

• The PRO 45 is a wide-range condenser micro-phone with a cardioid (unidirectional) polar pattern. It was designed for high-quality sound reinforcement and other demanding sound pickup applications. The PRO 45 is furnished with a vinyl-coated steel hanger that allows it to be positioned inconspicuously over a choir, orchestra, stage, etc., for low-profile situations.
• The PRO 45 features a 25′ (7.6 m) perma-nently-attached miniature cable with an XLRM-type connector, which allows it to be plugged directly into an XLRF-type jack or cable connector. The unit’s integral electronics can be powered from any external 9V to 52V DC phantom power source.
• Audio-Technica design engineers have utilized the newest low-mass technology in the quest for superior performance. The charge is now on the fixed back plate, rather than the moving element. With the A-T fixed-charge “back plate” construction, a gold-vaporized diaphragm just 2 microns thick (about 0.000079″) can be used. This reduces moving mass substantially, improving frequency response and transient response while reducing distortion.
• The microphone element is enclosed in a rugged housing with a low-reflectance black finish. The microphone is also available in white as the PRO 45W, with a white-finished microphone housing, windscreen, cable and steel hanger, for applications where the microphone must be hung against a light background.

Operation and Maintenance

• The PRO 45 is ideal for suspension over choirs, instrumental groups or theater stages. A uniform 120° angle of acceptance provides well-balanced audio pickup. The microphone should be located forward of the front-most source, above the rear-most source, and “aimed” between them (Fig. 1). Increasing the height of the mic above the sources will tend to equalize sound levels between them, but may also increase background/reverberant sound pickup. Whenever possible, the distance from the mic to the rear-most pickup should be no more than twice the distance to the front source, to maintain front-to-rear balance (Fig. 1).
• Width of pickup is approximately three times the distance to the closest performer. If addi-tional mics are needed for wide sources, they should not be closer together laterally than three times the distance to the front source, to avoid phase cancellation (Fig. 2).
• To orient in the proper direction, twist the microphone housing slightly in its wire holder (clockwise rotation moves the microphone to the right; counterclockwise rotation moves it to the left). The provided AT8146 windscreen simply slips over the head of the microphone, effectively reducing noise from wind or venti-lation air currents.
• Output is low impedance balanced. The output connector mates with XLRF-type connectors. The balanced signal appears across Pins 2 and 3, while the ground (shield) connection is Pin 1. Output is phased so that positive acoustic pressure produces positive voltage at Pin 2 in accordance with industry convention.
• DC phantom power (9-52 volts) must be applied equally to Pins 2 and 3, with the ground for the power supply connected to Pin 1. This can be provided by a console or mixer with built-in phantom voltage or with the addition of an in-line phantom power supply, such as the recommended Audio-Technica CP8506 and AT8801 power supplies.
• If an extension cable is necessary, AT8314 cable (or equal) should be used. Regardless of cables used, it is important that both ends of each cable are wired consistently, with the shield always connected to Pin 1 at both ends, Pin 2 connected to Pin 2, and Pin 3 to Pin 3. This will ensure that all microphones are electrically in phase and reduce problems of uneven response and sound cancellation when two microphones are used close to each other.
• The high sensitivity of the PRO45 ensures useful output and an excellent match to most mixer, tape recorder and amplifier inputs. It will provide undistorted output even in sound fields as loud as 134 dB SPL. However, due to the high sensitivity, in some instances it may be possible to overload sensitive input stages. If distortion occurs, first check for input overload. In such cases, an attenuator such as the Audio-Technica AT8202 may be required between the mic and the electronics input. (Also, many mixers provide “input pad” switches to reduce mic-input signal levels.)
• While a modern condenser microphone is not unduly sensitive to the environment, tempera-ture extremes can be harmful. Exposure to high temperatures can result in gradual and permanent reduction of the output level. Avoid leaving the microphone in the open sun or in areas where temperatures exceed 110° F (43° C) for long periods of time. Extremely high humidity should also be avoided.

Frequency Response

Polar Pattern

PRO 45/PRO 45W SPECIFICATIONS†

• Element …………………………………………….. Fixed-charge back plate permanently polarized condenser
• Polar Pattern ……………………………………… Cardioid (Unidirectional)
• Frequency Response ………………………… 70-16,000 Hz
• Open Circuit Sensitivity …………………….. –37 dB (14.1 mV) re 1V at 1 Pa*
• Impedance ………………………………………… 100 ohms
• Maximum Input Sound Level ……………… 134 dB SPL, 1 kHz at 1% T.H.D.
• Signal-to-noise Ratio1 ………………………… 66 dB, 1 kHz at 1 Pa*
• Dynamic Range (Typical) ……………………. 106 dB, 1 kHz at Max SPL
• Phantom Power Requirements …………… 9-52V DC, 2 mA typical
• Weight (less cable) ……………………………… 0.5 oz (15 grams)
• Dimensions ………………………………………. 2.24″ (56.9 mm) long, 0.47″ (12.0 mm) head diameter
• Output Connector ………………………………. 3-pin XLRM-type
• Cable ………………………………………………… 25′ (7.6 m) long (permanently attached to microphone), 0.10″ (2.6 mm) diameter, 2-conductor, shielded cable
• Accessories Furnished …………………….. Foam windscreen, steel hanger

In the interest of standards development, A.T.U.S. offers full details on its test methods to other industry professionals on request. * 1 Pascal = 10 dynes/cm2 = 10 microbars = 94 dB SPL 1 Typical, A-weighted, using Audio Precision System One

Dimensions

Optional Accessories:

• AT8104a large metal windscreen.
• AT8117 large foam windscreen for high-wind conditions.
• CP8201 line matching transformer (Lo-Z to 50,000 ohms).
• AT8202 adjustable in-line attenuator for use with balanced Lo-Z microphones.
• AT8314 2-conductor, shielded, vinyl-jacketed, broadcast-type cable with XLRF-type connector at microphone end, XLRM-type connector at equipment end. Available in 10′, 20′, 25′, 30′, 50′ & 100′ lengths.
• CP8506 four-channel 48V phantom power supply (AC powered).
• AT8801 single-channel 48V phantom power supply (AC powered).

One-Year Limited Warranty

Audio-Technica microphones and accessories purchased in the U.S.A. are warranted for one year from date of purchase by Audio-Technica U.S., Inc. (A.T.U.S.) to be free of defects in materials and workmanship. In event of such defect, product will be repaired promptly without charge or, at our option, replaced with a new product of equal or superior value if delivered to A.T.U.S. or an Authorized Service Center, prepaid, together with the sales slip or other proof of purchase date. Prior approval from A.T.U.S. is required for return. This warranty excludes defects due to normal wear, abuse, shipping damage, or failure to use product in accordance with instructions. This warranty is void in the event of unauthorized repair or modification.

For return approval and shipping information, contact the Service Department, Audio-Technica U.S., Inc., 1221 Commerce Drive, Stow, Ohio 44224. Except to the extent precluded by applicable state law, A.T.U.S. will have no liability for any consequential, incidental, or special damages; any warranty of mer- chantability or fitness for particular purpose expires when this warranty expires. This warranty gives you specific legal rights, and you may have other rights which vary from state to state.

Outside the U.S.A., please contact your local dealer for warranty details.

Audio-Technica U.S., Inc., 1221 Commerce Drive, Stow, Ohio 44224 Audio- Technica Limited, Old Lane, Leeds LS11 8AG England Form No. 0320-0805-02-B/W © 1999 Audio-Technica U.S., Inc. Printed in U.S.A.

TROUBLESHOOTING

• No Sound Output:
  • Verify the microphone’s cable connection to the mixer or audio interface.
  • Make certain that the microphone receives the necessary phantom power (usually 9-52V).
  • Ensure that there are no obstructions in front of the microphone capsule.
  • Test the microphone using a different cable and audio input to rule out cable or input problems.
• Low or Distorted Sound:
  • Adjust the microphone’s gain or sensitivity settings on the mixer or audio interface.
  • Confirm that the microphone is not positioned too closely to the sound source, as this can cause distortion.
  • Inspect the microphone’s diaphragm or capsule for any damage, which can lead to audio irregularities.
• Interference or Noise:
  • Check for any sources of electromagnetic interference (e.g., mobile phones or Wi-Fi routers) near the microphone.
  • Employ shielded cables to reduce the likelihood of interference.
  • Test the microphone in a different location to determine if the noise persists, as it may be related to environmental factors.
• Uneven Pickup Pattern:
  • Ensure that the microphone is oriented correctly, with the front side (labeled) facing the sound source.
  • Adjust the microphone’s positioning to optimize the pickup pattern for the desired sound source.
• Microphone Placement Issues:
  • Confirm that the microphone is securely suspended from its mounting hardware, as loose connections can result in sound quality issues.
  • Inspect the mounting hardware for any damage or anomalies that could affect microphone positioning.
  • Position the microphone at the appropriate height and distance from the sound source to capture the best audio quality.
• Phantom Power Problems:
  • Verify that the mixer or audio interface provides the required phantom power within the specified voltage range (9-52V).
  • Test the microphone with an alternative phantom power source to eliminate potential issues with the mixer or interface.
• Audio Cable Issues:
  • Examine the microphone cable for any visible damage, including frayed wires or loose connectors.
  • Substitute the microphone cable with a known-working one to determine if the problem lies with the cable itself.
• Environmental Factors:
  • Assess the room’s acoustic properties, as subpar acoustics can impact microphone performance. Implement acoustic treatment if needed.
  • Ensure there are no strong air currents or drafts near the microphone, as they can introduce unwanted noise.
• Check for Mute or Solo Functions:
  • Confirm that, on your mixer or audio interface, there are no inadvertent muting or soloing of the microphone channel.

FREQUENTLY ASKED QUESTIONS

What is the Audio-Technica PRO 45 microphone used for?

The Audio-Technica PRO 45 is designed for overhead sound pickup and is often used in applications such as choirs, conference rooms, and ambient recording.

What is the polar pattern of the PRO 45 microphone?

The PRO 45 has a cardioid polar pattern, which means it primarily picks up sound from the front while rejecting sound from the sides and rear.

How do I install the PRO 45 microphone?

The PRO 45 is typically suspended from a ceiling or mounting structure using the included hardware. It should be positioned above the sound source for optimal performance.

Can I adjust the microphone's angle once it's installed?

Yes, the PRO 45 features a pivot point that allows you to adjust the angle of the microphone to focus on the desired sound source.

Is phantom power required to operate the PRO 45 microphone?

Yes, the PRO 45 requires +48V phantom power to operate. Make sure your audio interface or mixer provides phantom power.

What is the frequency response of the PRO 45 microphone?

The PRO 45 has a wide frequency response ranging from 70 Hz to 16,000 Hz, making it suitable for capturing a wide range of audio.

Can I use the PRO 45 for outdoor recordings?

The PRO 45 is designed for indoor use and is not weatherproof. It's best used in controlled indoor environments.

Does the PRO 45 microphone come with a cable?

No, the PRO 45 does not come with a cable. You'll need to purchase an appropriate XLR cable separately to connect it to your audio equipment.

What is the recommended distance from the sound source for the PRO 45 microphone?

For optimal results, position the PRO 45 microphone approximately 12 to 18 inches (30 to 45 cm) from the sound source.

Can I mount the PRO 45 microphone on a standard microphone stand?

No, the PRO 45 is specifically designed for hanging installations and cannot be mounted on a standard microphone stand.

What type of connector does the PRO 45 microphone use?

The PRO 45 microphone has a 3-pin XLRM-type connector for audio output.

Is there a shock mount or windscreen available for the PRO 45?

Audio-Technica offers optional shock mounts and windscreens that are compatible with the PRO 45. These accessories can help reduce handling noise and wind interference.

Can I paint the PRO 45 microphone to match the ceiling color?

Yes, the PRO 45's rugged housing can be painted to match the ceiling or environment, but be sure to follow proper painting procedures to avoid damaging the microphone.

Is the PRO 45 compatible with wireless microphone systems?

The PRO 45 is a wired microphone and is not compatible with wireless systems. It requires a physical XLR connection to your audio equipment.

What is the maximum SPL (Sound Pressure Level) the PRO 45 can handle?

The PRO 45 can handle sound pressure levels of up to 134 dB, making it suitable for capturing loud sound sources without distortion.

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