Audio-Technica PRO 45 Hanging Microphone Data
About Audio Technica
Audio-Technica is a well-known Japanese audio equipment manufacturer that specializes in the design and production of high-quality audio products. The company was founded in 1962 by Hideo Matsushita and is headquartered in Tokyo, Japan. Since its inception, Audio-Technica has gained a strong reputation in the audio industry for its commitment to innovation, craftsmanship, and technical expertise.
The company’s product range includes a wide variety of audio equipment, such as headphones, microphones, turntables, wireless systems, and other audio accessories. They cater to various markets, including professional audio, broadcast, live sound, studio recording, and consumer audio.
The PRO 45 is a wide-range condenser microphone 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) permanently 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).
The width of the pickup is approximately three times the distance to the closest performer. If additional 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 ventilation 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 by 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 the cables used, both ends of each cable must be 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, temperature extremes can be harmful. Exposure to high temperatures can result in a 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. Extremely high humidity should also be avoided.
- 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
Typical, A-weighted, using Audio Precision System One
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 the date of purchase by Audio-Technica U.S., Inc. (A.T.U.S.) to be free of defects in materials and workmanship. In the event of such defect, the 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 the product by 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 merchantability or fitness for a 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.
FAQS About Audio-Technica PRO 45 Hanging Microphone Data
What is the purpose of hanging microphones?
Cardioid condenser microphones are the most common type of hanging microphones, making them suitable for almost any application. They fit in perfectly in studio booths where they are utilized for live sound amplification and recording, as well as over stages or choir rows.
What position should the microphone be in?
Avoid placing the microphone in front of your mouth. To stop breathing sounds, hold it below or to the side of your mouth. Maintain a distance of 1 to 3 inches between the microphone element and your mouth. The microphone’s front should be facing your mouth.
How far away from a microphone is ideal?
7 to 12 inches
What’s the ideal lifespan of a microphone?
Any device’s lifespan can be significantly increased with routine maintenance and upkeep. Top manufacturers claim that their mics can last for more than 30 years because of this.
I need how many hanging microphones.
Hang one to three tiny microphones if actors further upstage are difficult to hear. The mics created for this purpose—which are the same as those used for choirs—will produce by far the best results.
Why do microphones require power?
Simply put, dynamic microphones are passive and do not require phantom power, but condenser microphones feature active electronics that require an external power source. Condenser microphones have a very high output impedance due to the way they function, hence a powered circuit is needed to lower that impedance.
What component of a microphone is crucial?
The diaphragm is the microphone’s most crucial part. In actuality, a diaphragm is included in every form of microphone (except from the experimental laser microphone). This is what? A microscopic diaphragm is a thin membrane that moves in response to sound waves (variation in sound pressure).
What is the microphone policy?
According to the rule, there should be three times as much space between the sound source and each microphone when using several microphones.
What frequency range do microphones operate in?
The distance between a microphone’s upper and lower limiting frequencies is referred to as its frequency range. The frequency range that can be covered by modern microphones ranges from about 1 Hz to 140 kHz.
What is a microphone’s audible range?
Consider a microphone with a frequency range of 20 Hz to 20,000 Hz, which corresponds to the range of human hearing.
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