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CBM 40X Condenser Boundary Microphone
USER GUIDE
Thanks for purchasing the Nady CBM 40X Boundary Microphone!
This microphone is a wide-range back electret condenser with
a cardioid polar pattern. It is very useful in a variety of surface-
mounted applications such as high quality sound reinforce-
ment, professional recording, and many other demanding sound
pickup situations. The microphone is designed to be powered
by an external 9-52 V DC phantom power supply and is enclosed
in a heavy-duty die cast case on rubber padding to minimize
mechanical coupling of surface vibrations to the microphone.
Your CBM 40X microphone was carefully packed at the factory, and the shipping carton was designed to protect the
unit during shipping. Please examine your microphone before using and retain the external shipping package for
reuse should you ever need to return your microphone for servicing.
UNPACKING, INSPECTION, STORAGE AND TRANSPORT
The CBM 40X can be used with any standard mixer, powered mixer/amplier, or mic preamp which provides 9-52V
phantom power. The optional Nady 48V SMPS-1X Phantom Power Supply can also be used if your mixer doesn’t sup-
ply phantom power. Connect the supplied mini-XLR to XLR cable directly to your equipment, or use an XLR to XLR
balanced low impedance cable as an extension if needed.
The CBM 40X should be placed on a sturdy at surface and aimed at the sound source. Experiment with your mic
and you will nd it to be a useful tool in many applications. Although designed primarily for high quality far eld pickup
of audio, such as for use with choirs and stage plays, the Nady CBM 40X can also be used in many creative applica-
tions. For example, wrapped in a blanket to deaden vibrations, it is a very effective kick drum mic when placed inside
the kick drum.
Be aware of the proximity effect (an increase in bass response) when the mic is placed close to the instrument. 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 during live stage use, an unpleasant howling effect (acoustic feedback)
may occur. Although all microphones are prone to feedback to some extent, those with a unidirectional polar pattern
(such as the CBM 40X) are specially designed to accept only signals from audio sources in front of the mic element.
Thus, the half cardioid pattern of the CBM 40X 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
P.A. and monitor speakers. This means that feedback will be greatly minimized with the CBM 40X in all live perfor-
mance miking applications. Of course, when using this mic in far eld audio pickup applications, extra care must be
taken to lessen feedback.
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.
USING YOUR CBM 40X