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Manual abstract: user guide VIOLET DESIGN AMETHYST DESCRIPTION
Detailed instructions for use are in the User's Guide.
[. . . ] They possess very fast impulse transient response without sound coloration or low frequency reduction, as well as the ability to handle louder sound pressure levels. [. . . ] The internal phantom powered preamplifier is a fully discrete Class 'A' transformerless circuit which provides high output, flat audio response and ulta-low distortion and noise. The Amethyst Vintage has a grey/blue body and uses a dual large-diaphragm, center terminated dual back plate capsule which provides a classical, wide-spectrum, vintage microphone sound. Both models have a unidirectional cardioid polar pattern with minimal proximity effect and are linear over the wide frontal incidence angle. The Amethyst Standard is particularly recommended for percussion and stringed instruments. For vocal applications The Amethyst Standard is more oriented for a male voice and The Amethyst Vintage for a female voice. Use them up close, within 2" to 4" to get best results. [. . . ] The internal amplifier and capsule are hard to overload and are well suited for close miking of vocals.
SPECIFICATIONS
FREQUENCY CHART: THE AMETHYST DESCRIPTION DESCRIPTION
+4 Transducer type: electrostatic Operating principle: pressure gradient standard db O Diaphragm's active diameter: 1" (26mm) vintage Frequency range: 20 Hz to 20 kHz Polar pattern: cardioid -4 20 30 50 Output impedance: 50 ohms Rated load impedance: 1000 ohms Suggested load impedance: > 500 ohms Sensitivity at 1000 Hz into 1000 ohms load: 21 mV/Pa S/N Ratio (CCIR 468-3 weighted): 76 dB S/N Ratio (DIN/IEC 651 A-weighted): 87 dB-A Equivalent noise level DIN/IEC A-weighted: 7 dB-A Maximum SPL for 0. 5% THD at 1000 ohm load: 134 dB Dynamic range of the microphone preamplifier: 127 dB Phantom power voltage (on XLR pins 2 & 3): 48V (±4V) Current consumption: < 2 mA Output connector: 3-pin XLR male Signal polarity: pin 2 in phase Dimensions & Weight: 6. 6" (h) x 2. 5" (w) / 12. 3 oz. [. . . ]
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