USER MANUAL
Contents
1. 20 inches above the performer s head centered in front of the drum set and placed 5 6 feet out in front The microphone s Pan position should be centered for mono drums see Fig 5B For best results record the drums in as acoustically dead a room as you can If the room is live the sharp attack transients of the drum kit will only be come that much more difficult to capture if the room has hard reflective surfaces resulting in a muddy sound without any real definition Further you should always record the drums dry and add signal processing after the fact 8 REVELATION Specifications Type Diaphragm Tube Type Output Frequency Range Polar Pattern Sensitivity Impedance Pre Attenuation Switch S N Ratio Equivalent Noise Level Max SPL for 0 5 THD High Pass Filter Power Requirements Size Weight Metal Finish Variable Pattern Tube Condenser Microphone Dual Gold sputtered 6 Micron Diaphragm EF86 Transformer Balanced 20 Hz 20 kHz Continuously Variable 40 dB re 1 V Pa 140 ohms 0 dB 10 dB 76 dB 18 dBA A weighted IEC 651 138 dB SPL 12 dB octave 125Hz Revelation Power Supply Unit 110 220 VAC 50 60Hz 7 1 2 X 2 1 2 mic only 2lbs mic only Dark Violet and Chrome 9 User Manual Warranty Marshall microphones are guaranteed against defects in material and workmanship for three years except tube which is 90 days from2. 6 8 inches away from the microphone Getting too close to the microphone tends to increase bass response and can create problems with plosive sounds i e those popping Ps Bs Ds and Ts Getting too far away makes the microphone more subject to picking up room ambience and creates the effect of the vocalist being in a bowl While vocalists may need to move about in order to hit those high notes make every effort to maintain a constant distance from the microphone as this will provide the greatest tonal balance see Fig 1 For the most part the microphone s axis or center line should aim toward the nose and mouth to obtain the fullest sound It s not a bad idea however to experiment angling the microphone slightly away from dead center so as to help minimize plosives Further you should always place a pop filter between the vocalist and the microphone with the pop filter positioned 3 4 inches in front of the microphone This will greatly increase your ability to achieve the most natural sounding recordings with minimal interference from plosive sounds Fixing plosives with audio editing software often creates more of a problem than the plosive itself Use of a pop filter will also protect your micro phone s sensitive capsule keeping it free from moisture caused by saliva and breath condensation Remember good microphone technique proper positioning and use of a pop filter can make all the difference between a so so vocal re
3. date of purchase Should you encounter any problem with this unit promptly contact the company you purchased it from for assistance The original dated sales receipt will be necessary for any warranty claim Do not send any unit directly to us without prior authorization from our service department Warranty coverage is limited to repair or replacement at our option of the microphone and does not cover incidental damages due to use of this unit nor damage caused by accidental misuse of this product ia E Marshall Hectronics Professional Audio Division El Segundo CA Phone 310 333 0606 800 800 6608 Fax 310 333 0688 www mxImics com www mogamicable com sales mxlmics com lO Marshall Hectronics Professional Audio Division El Segundo CA Phone 310 333 0606 m 800 800 6608 m Fax 310 333 0688 www mxImics com www mogamicable com salesemximics com
4. microphone can be used the lower and upper extremities of the instru ment will likely be compromised Grand Piano For the upper strings position the microphone approximately 8 inches from the piano hammers to reduce mechanical noise and 8 11 inches above the strings with the Pan position set to left of center For the lower strings position the microphone toward the far end away from the keyboard roughly 6 12 inches from the end and 8 11 inches above the strings with the Pan position set to right of center Position the piano s lid at full stick see Fig 4A If you are using a single microphone position the microphone approximately 8 inches from the piano hammers to reduce mechanical noise and 8 11 inches above the strings centered over the piano s mid point Pan position should be centered and the piano s lid should be at full stick Upright Piano With an upright piano the two microphones are generally placed either just over the top of the piano with the top open or you can remove the pia no s front panel beneath the keyboard Fig 4B and place the microphones below Side View Front View Front Panel Placement For the upper strings position the microphone ap proximately 8 11 inches away from the strings with the Pan position set to left of center For the lower strings position the microphone 8 11 inches away from the strings with the Pan position set to right of center see Fig 4B Mics po
5. recommend muting your speakers because you will hear static Keep in mind that there is no single right way to finding the perfect sound Experimentation with different patterns in different recording situations will be the key One of the most popular polar patterns a cardioid O microphone picks up sound from the front of the microphone less sound from the sides and has good rejection of sound to the back of the microphone The cardioid pattern is well suited for situations when you want to pickup specific sound sources like a guitar within an ensemble and is recommended for recording applications where the acoustics are good but not perfect For instance a cardioid pattern is less likely to pick up ambient noise from computers and recording equipment An omni directional microphone picks up sound equally from all sides of the micro phone Omni directional microphones are recommended for environments with excellent acoustics as they tend to pick up ambient noise This pattern is well suited for picking up sound from a wider recording area Omni directional mics are less sensitive to plosives handling noise and proximity effect Commonly referred to as bi directional the figure 8 pattern CO will pick up sounds from the front and back sides of the microphone with equal sensitivity while maintaining a large amount of rejection 90 off access Figure 8 patterns are the most susceptible to proximity effect and are commonly used in mi
6. cording and a great one Fig 2 Recording Acoustic Guitar Your best results for capturing the acoustic guitar or any similar stringed instrument begin with a properly tuned instrument and strings that while not old aren t so new as to create tuning issues due to stretching There are two optimum points for microphone positioning either near the bridge or by the twelfth fret ee _ Ee Bridge 12th Fret Placement a E Placement While it may seem natural to place the microphone in front of the instrument s sound hole doing so usually increases low frequency response to the point of making the instrument sound boomy User Manual Twelfth Fret Placement Placing the microphone roughly 2 4 inches from the twelfth fret and aimed directly at the strings will generally produce a warm full bodied sound with good tonal balance In addition the sound hole s contribution to the sound will be moderated since the microphone is not pointed directly at it Bridge Placement Similarly you can position the microphone so it is 3 6 inches from the guitar s bridge This will generally produce a somewhat brighter tonal quality You should also be prepared to experiment with positioning the microphone slightly off axis should you find yourself capturing too much low frequency response from the guitar s sound hole The acoustical characteristics of your room will also have a pron
7. d size stereo recording setups Ground Lift Switch A ground loop is unwanted interference that can be created when multiple electronic 3 User Manual devices improperly share a common ground The Revelation includes a Ground Lift switch to help prevent such occurrences If a ground loop is audible usually a 50 60Hz humming noise the ground lift switch on the front of the power supply should be set to the lift position 10dB Pad The Revelation can be used in very loud sonic environments without significant distortion If you hear distortion from the microphone engage the 10dB pad on the rear of the microphone to the 10dB position You may also move the microphone farther away from the sound source Shockmount The Revelation comes with a custom shock mount specifically designed to handle its large size Shockmounts decouple the microphone from the mic stand and the environment and can minimize floor noise as well as noise induced by people handling the microphone stand Shock mounts should be considered standard equip ment for all recording applications To mount the Revelation in the shockmount first attach the shockmount to the mic stand With one hand hold the Revelation microphone inside the basket of the shockmount with the threaded base of the mic resting on the retaining nut at the bottom With your other hand rotate the retaining nut until the microphone is securely attached to the shockmou
8. ded Your MXL Revelation includes the following Revelation Microphone 15ft 7 pin Mogami cable 15ft XLR Mogami microphone cable Revelation power supply Shockmount Aluminum flight case Cleaning cloth If any of the above items are missing or damaged contact the company you pur chased it from for assistance Power Requirements The MXL Revelation uses an EF86 tube that requires a dedicated power supply unit included with your microphone Even if your mixer has phantom power it is recom mended that you defeat the phantom power as a precautionary measure when it is not needed to power other mics that you might also be using This supply is switchable between 110 volts and 220 volts AC In North America the microphone ships in the 110 volts AC position and in the 220 Volts AC position for export However you always want to ensure that the power supply voltage is correctly set for your local voltage as permanent damage to the microphone and or power sup ply may occur if the incorrect voltage setting is selected Every Marshall Electronics MXL microphone has been thoroughly checked before shipping so if you do not hear sound check that the power supply is switched on Caution Do not hot plug the mic Always ensure that the power supply is off when plugging and unplugging the included 7 pin cable from the microphone to avoid damaging the microphone and power supply Phase Switch Bass Roll off Variable Pattern Sw
9. i f ENS A Sih REVELATION Variable Pattern Tube Microphone USER MANUAL REVELATIUN REVELATION An Introduction to the MXL Revelation Thank you for choosing the MXL Revelation Your new Revelation microphone was designed and engineered in the USA by our world class team of electrical and audio engineers and is built for the most critical sound applications The newest member of the MXL flagship product family the Revelation is an extraordinary studio microphone that delivers the warmth and intimacy of a tube mic with clarity and punch for balanced recording The MXL Revelation features individually selected components chosen for their superior sonic capabilities Examples include the EF86 pentode tube and balanced transformer output The MXL Revelation also includes a variable knob located on the power supply that allows you to choose the polar pattern that best fits your unique recording situation The MXL Revelation will provide many years of outstanding service and the finest quality recordings attainable Before you get started we encourage you to review this manual Inside you ll find some recording tips tricks and specific features of the MXL Revelation that will help you obtain the best possible recording results Enjoy your MXL Revelation The MXL Team User Manual Revelation Features Carefully unpack your MXL Revelation Variable Pattern Tube microphone to verify that all of the components are inclu
10. itch Control Knob XLR Mic Output 7 pin Mic Cable Ground Lift Switch Power on LED REVELATION Bass Roll off Switch The Revelation power supply features a bass roll off switch to help reduce proxim ity effect Proximity effect is distortion that often occurs when a sound source is too close to the mic Some microphone patterns boost bass as you get closer to the microphone cardioid mics for instance tend to boost bass The bass roll off switch reduces the low frequencies for a more full range sound Phase Switch The Revelation also includes a phase switch which allows you to reverse the polarity of the microphone signal by 180 degrees This can help minimize phase issues when recording with multiple microphones Variable Pattern Control Knob The Revelation features a continuously variable pattern selector located on the Revela tion power supply This knob allows you to alter the polar pickup pattern of the micro phone from omni directional to figure eight and everything in between This can be done with the microphone turned on without causing any damage to the unit however it is recommended that you mute your speakers when changing to a new pattern To change the polar pattern simply rotate the knob to customize the microphone s pickup pattern for your specific recording application After rotating the knob to a new polar pattern it will take a few seconds for the capsule to charge back up During these few seconds we
11. nt Microphone Cables The microphone cable can have a profound effect on the sound of any microphone Even the finest mi crophones will sound poor if the interconnect cable allows noise to enter or causes distortion and loss of information We highly recommend exclusively using the Mogami cables supplied with your Revelation Care Dust and foreign material can degrade the performance of a microphone over time so always store the unit in its case Grill The Revelation microphone uses a single layer mesh grill This design mini mizes standing waves and harmonic distortion Because this type of grill leaves little protection between the user of the microphone and the capsule we highly recommend using a pop filter Use of a pop filter will help protect your microphone s sensitive capsule keeping it free from moisture caused by saliva and breath condensation 4 LL REVELATION Recording Tips and Tricks Fig 1 Vocals and Dialog Ideally you want to record vocals ina relatively dead room If you clap your hands and get an echo effect you should consider adding some carpet blankets drapes or other sound absorbing materi als On that note make every effort to avoid getting too close to the room s walls These hard reflective surfaces can easily complicate the recording process Move your mic setup toward the room s center Generally you should position the vocal ist roughly
12. ounced effect on your results A live room will produce an overall brighter guitar sound while a damped room will produce more of a mellow tone If you have two microphones you may wish to experiment using one in close proximity to the guitar as previously described with the second microphone on a stand a few feet away to capture the room s ambience Blending the two sources can produce excellent results Recording an Amplified Electric Guitar While the electric guitar can certainly be recorded directly there are times when there is simply no substitute for the sound of a real amplifier Guitar amps have particular gain stages that facilitate the popular crunch guitar sound While digital modeling and processing systems certainly have their place they may not have the same level of real ism as the sound from an amplifier A small guitar amp can be just as effective for this application as a stack because you don t necessarily need to crank the volume Instead you want to increase the amp s initial gain to achieve the desired amount of overdrive Top View n Side View Mic is aimed lt gt directly at center of loudspeaker Fig 3 Mic is positioned 4 from grill Typically a guitar amp is close miked to achieve the highest direct sound Placing the mi crophone roughly 4 inches from the grill aimed directly at the center of the loudspeaker will produce the most edge to yo
13. sitioned Front Panel Removed 8 11 away from strings Fig 4C Front View O centered over the instrument see Fig 4C Recording a Drum Set User Manual Single Microphone Open Top If you are using a single microphone it is generally recommended that you re cord from above as placement of the microphone in the lower center may interfere with the performer s ability to access the pedals and the microphone will likely pick up excessive pedal and other mechanical noise Position the microphone just over the open top Like the piano capturing the drums can be quite a challenge if for no other reason than the fact that you must be very careful to avoid positioning the microphone s where they could be hit Ideally you ll want a minimum of two microphones for this job though a single microphone can be employed Fig 5A Front AA 2 3 Ft apart View 7 Sarum 16 20 above performer s head Fig 5B e 16 20 above performer s head Stereo Overhead Pair Position the two microphones approximately 16 20 inches above the performer s head separated laterally by roughly 2 3 feet and placed 5 6 feet out in front of the drum kit Adjust the two microphone s Pan position so that you achieve a good stereo spread though generally not hard left and right See Fig 5A Single Overhead Microphone Posi tion the microphone approximately 16
14. ur sound By angling the microphone slightly off axis and towards the wall you can add more room sound Experimentation is a key factor in achieving the sound you are looking for see Fig 3 6 REVELATION Placement of the amp is another important factor If the amplifier sits on a carpeted floor you are more likely to reduce the amount of brightness in the sound Similarly elevat ing the amplifier off the floor may result in a loss of low end If you re looking for a big reverberant tone placing the amp and microphone in the bathroom is another popular technique The hard tiles and other reflective surfaces can do wonders for a dull sound In this case move the microphone back a few feet from the loudspeaker and crank it up Fig 4A Recording the Piano The piano is one of the most challeng ing instruments to record and many problems stem from the quality and rd pi Ace maintenance of the instrument itself mic here O You ll obtain the best results by using an instrument that has just been tuned and is in good mechanical condition Front View The piano is generally recorded using close miking technique Ideally you ll want a minimum of two microphones Usu ally the microphone capturing the higher strings is assigned to the left channel and the microphone capturing the lower strings is assigned to the right channel in the final stereo mix though the stereo spread generally is not hard left and right While a single
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