• Perfect for video recording, lectures, angled overhead placement, boom applications and off-stage miking

• Dual electret condenser elements for maximum uni-directivity with excellent off-axis rejection

• Power / Polar Pattern switch for selecting cardioid or super-cardioid sensitivity

• Smooth linear response with high sensitivity and exceptionally low self-noise

• Sleek, durable, lightweight metal construction

• Single AA alkaline or NiMH battery operation (not included)

• Extra thick foam windscreen included

• Optional HM-9 mic clip and SHM-1 shoemount available for mounting on mic stands or camcorders

The SGM-12 can be used with any standard mixer, powered mixer/amplifier, mic preamp, or video camcorder. Using

the appropriate cable (not included) connect the female XLR end of your cable to the SGM-12, and the other end to your equipment.

Depending on the application, the SGM-12 can either be handheld, mounted to a camcorder, or mounted on a microphone stand with a standard mic clip.

Be aware of the proximity effect (an increase in bass response) when the mic is placed closer to the sound source.

This may or may not be desirable. Experimenting with the position of the mic with respect to the audio source will ensure the optimum results you are seeking in any given application.

If the microphone is placed too near a speaker, an unpleasant howling effect (acoustic feedback) may occur. Although all microphones are prone to feedback to some extent, those with a unidirectional or super-cardioid polar pattern (such as the SGM-12) are specially designed to accept only signals from the audio source directly in front of the mic cartridge. Thus, the polar pattern of the SGM-12 ensures that it will deliver only the desired audio in front of the mic, rejecting the unwanted audio from the rear, even in noisy ambient conditions with high sound pressure levels from the PA. and monitor speakers. This means that feedback will be greatly minimized with the SGM-12 in all live performance miking applications.

Some useful ways in which to totally eliminate annoying feedback include: experimenting with mic positions with respect to the speakers, decreasing speaker volume (whenever possible), and adjusting the equalization of the mic audio with the mixer.