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WHAT SEQUENCE SHOULD I FOLLOW WHEN POWERING UP MY MIC?

 

1) mute console or speakers (headphones).

2) place mic securely in shockmount on stand.

3) connect miltipin cable between mic & psu.

4) connect 3p xlr cable between psu & console or preamp.

5) connect AC cable to wall & IEC 320 connector on psu.

6) turn AC power switch on psu “on”, wait 1 minute.

7) unmute, set levels, and record!

 

 

CAN BOCK AUDIO DO CUSTOM WORK?

 

Yes just email or call to see the feasibility of your ideas. We may have already built one already!

 

 

I BOUGHT A USED BOCK AUDIO MIC, DOES IT HAVE WARRANTY?

 

Standard warranty is one year for tubes and three years for mic from original date of purchase. Original receipts make researching this easier, but are not required.

 

 

SHOULD I HANG MY MICROPHONE UPSIDE DOWN?

 

You may if you like, but the is no requirement to do so. All Bock Audio tube mics self heat minimally so position does not affect electronic performance.

 

 

SHOULD I WARM UP MY MIC?

 

For tube mics, yes, FET mics there is no need. The tube mic should warm up for 5-10 minutes generally, longer in cold environments. If you are singing you should probably warm up your voice as well.

 

 

SHOULD I CLEAN THE CAPSULE?

 

NO! The likelihood of damaging the 6 micron membrane is too high for most end users. If you DO end up removing or handling ANY condenser mic capsule, please use latex or similar gloves to handle the capsule with!

 

 

DO YOU CLEAN CAPSULES?

 

Generally not, as the repair is temporary. Cleaning is not generally needed on our CK12 and ellipse capsules, as their membranes are fully metalized. In rare cases vintage AKG CK12's can be cleaned due to residue or other buildup on the backplate, but the membrane shouldn't be cleaned.

 

 

WHY DO SOME CAPSULES GET NOISY?

 

In the K47 and K67, the unmetalized area of the membrane becomes contaminated with dirt and dust and then reacts with humidity  (especially when the mic is used for close speech) causing breaching of the high impedance circuitry which results in noise.

 

 

WHAT ARE THE DISADVANTAGES OF CLEANING A CAPSULE?

 

It is complex, time-consuming and risky to the membrane, liquid could get under the diaphragm through tiny holes or the capillary which would eventually cause other damage, the gold often is inadvertently removed which causes a lack of gain/increase in noise, and the diaphragm becomes stretched and sticks to the backplate due to static charge.

 

 

SHOULD I SEND MY MICS IN FOR REGULAR CALIBRATION OR CLEANING?

 

If the mics live and or work in a dirty, humid, nautical or any combination of those environments, consider sending them in regularly. Otherwise only send in when problems are apparent.

 

 

SHOULD I USE A POP FILTER?

 

You should make an educated decision. A pop filter used on close vocals will help to mitigate spit and projectile particulates accumulating on the membrane (extending the life of the capsule), the trade-off being a change in frequency response (which is not necessarily linear and may involve comb filtering), including a general loss of very high frequencies.

 

 

ARE ALL POP FILTERS CREATED EQUAL?

 

Certainly not. Fresh foam filters seem to be the best compromise between performance and inaudibility, fabric coming in second. Metal filters tend to have measurable in band resonance. Old foam filters leave undesired particulate matter on membranes. If you use a foam filter, remember to inspect it regularly (to confirm no particulate matter sheds from it), and do not store the mic with the foam filter on it. Eletrostatic attraction of the membrane could force particles from the foam onto the membrane.

 

 

HOW DO I PROTECT FROM HUMIDITY & MOISTURE?

 

When the mic is not in use store in a plastic bag with dry desiccant. If desiccant becomes saturated, replace with dry packet.

 

 

HOW SHOULD I STORE MY MICROPHONE WHEN NOT IN USE?

 

When the mic is not in use store in a plastic bag with dry desiccant. If desiccant becomes saturated, replace with dry packet.

 

 

WHAT IS PROXIMITY EFFECT & WHY IS IT IMPORTANT IN BOCK AUDIO MICROPHONES?

 

Increase of bass at close distance in a directional (cardioid or fig 8) mic.  It is important in Bock microphones because  the slope of the response at typical user distances has been carefully engineered to flatter the vocalist. For deeper treatment of the subject, please see:

 

https://en.wikipedia.org/wiki/Proximity_effect_%28audio%29

 

http://www.synaudcon.com/site/articles/the-magic-behind-multi-pattern-mics/

 

“A Breif Tutorial on Proximity Effect” by David Josephson JAES #5058 c1999

 

 

IS THERE 1 MICROPHONE THAT WILL WORK FOR EVERYTHING?

 

The short answer is no. The longer explanation is that no system exists which has infinite headroom, infinitely diminishing noise, dynamically adjusting proximity effect, absolute narrow directionality, idealized room dependent ratio of direct to reflected sound, idealized subject dependent frequency response, and looks cooler than everyone else's mic produced that day depending upon the winds of fashion at the time. That's why we make different types of microphones!

 

 

I HAVE WHAT IS SUPPOSED TO BE A MATCHED PAIR, BUT THE SERIAL NUMBERS ARE NOT SEQUENTIAL. IS THIS CORRECT?

 

If a pair of Bock Audio mics was ordered as a matched pair, or sent back to the factory for matching, they could have differing number sequences but still be matched electronically and acoustically. All current productions mics can be matched even after years in the field. Please contact the service department for details and charges.

 

 

WHAT IS 1PA?

 

The term 'pa' is short for Pascal and is the standard measurement index of sound pressure. Sound pressure is the difference or deviation from the ambient atmospheric pressure caused by a sound wave.

Sound pressure is often also displayed in dB SPL. 1 Pascal can be measured as 94dB SPL.

 

 

HOW IS MICROPHONE SENSITIVITY MEASURED & PUBLISHED?

 

Microphone sensitivity is calculated as the output level the mic will produce in a known sound field.

Bock Audio and most other professional microphone manufactures use a sound field level (or pressure) of 1 Pascal (or pa) = 1V, this equates to 94dB SPL. To test the microphone sensitivity we place it in a sound field of 94dB SPL and compare it to the mic under test and express that number in millivolts and in dB compared to the reference level. As the reference level of 1 volt is normally above the output level of the mic (mV) the resulting number in dB will be negative. So, a microphone with a sensitivity of -40 dB is more sensitive than a mic with a rating of -60 dB.

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