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Cactus B7 Capsule Frequency Response

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Frequency (Hz)

This frequency chart of the Cactus B7 capsule is only a start. It gives the recordist a basis

of the sound provided. How the microphone reacts in a particular application will differ

greatly because of many variables. Room acoustics, distance from sound source (proximity),

tuning of the instrument and microphone cabling are only a few of the interacting issues.

For an artist or engineer, how the microphones are used creates the basis of the sound.

sounds to cut through a mix, even when miked at a distance or

mixed at very low levels.

You will notice that the sound of the Cactus B7 capsule changes

when adjustments are made to the nine-position pickup pattern

switch on the 9610 power supply. In general, the omnidirectional

pattern offers the flattest frequency response, with an absence

of proximity effect. As the pattern becomes more directional (by

clicking clockwise through the switch settings, towards the figure

of eight position) bass frequencies increase proportionally due

to proximity effect, and subtle changes also occur on the high

end response. These shifts in overall timbre can be used to fine-

tune the response of the Cactus, as well as for unconventional,

creative ends.

Recording Applications

Vocals

Here's a little-known secret — vocalists love singing into unique

and impressive mics. And in addition to its classic styling, the

Cactus was developed especially to enhance the projection, air,

and midrange detail in a voice, while diminishing the proximity-

induced lows which can cloud a mix or produce compression

artifacts. Put it in front of any singer and you are guaranteed to

get a 110% inspired performance that sits perfectly in the mix

with little or no additional equalization. The Cactus is also out-

standing for narration and voice-over work.

For a "big" vocal sound with maximum presence, get the vocalist

within one to three inches of the capsule. There is no need to

worry about overloading the microphone, but be sure to use the

W1 mesh pop filter to protect the diaphragm at close distances.

Tilt the Cactus up (toward the forehead) for more projection and

head tone, straight on at the mouth for maximum brightness and

intelligibility, or down toward the chest for more robust lows and

smoother highs.

Conventional vocal recording is almost always done using a car-

dioid pickup pattern. But the variable pattern control on the

9610 power supply allows you to experiment with the timbre

changes which occur in subcardioid (left of center on the pattern

switch, towards omnidirectional) and supercardioid (right of cen-

ter, towards figure of eight) settings. Whenever possible, set up

the power supply in the control room, and spend a few moments

exploring these tonal shifts while "tuning" the pickup patterns.

The figure of eight pattern is useful for recording two singers on

one mic, or for a "hotter" solo vocal with increased proximity

effect (i.e. a typical radio announcer voice). The omnidirectional

pattern on the Cactus can also be put to unique effect, whether

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recording a roomy, distant vocal track, capturing an unusual

room ambience in combination with a close vocal mic, or on

large group vocals.

Acoustic Guitar

For a balanced sound with plenty of sparkling high end, position

the Cactus facing the guitar neck, right where the neck joins the

body (usually around the 12th– 14th frets). For starters, use the

cardioid pattern, keep the capsule as close as possible, and angle

it toward the sound hole to capture a blend of low end and pick

sound. If you need more lows, move the capsule closer to the

sound hole, or adjust the pickup pattern one click at a time

toward the figure of eight position. For more high end detail,

move the Cactus farther from the guitar, either at the same neck

position, or above the instrument up by the guitarist's head. An

omnidirectional pattern setting allows very close placement to

the soundhole without boomy lows, and distant placement of

three feet or more can produce interesting results throughout

the available range of pickup patterns.

Electric Guitar

The Cactus B7 capsule is useful for any clean amp sound, ranging

from bright rhythm chords to warm jazzy tones. Angle the capsule

toward the center of the speaker to capture more highs, or turn

it toward the edge of the cone for a fuller sound with more low

end. The tube circuitry and natural high end response of the

Cactus is also excellent for overdriven and distorted amp tones.

To add a little room sound and/or soften the extreme high end,

move the mic towards the outer edge of the cone, or back it

away from the amp a foot or more.

For even more control over definition and room tone on electric

guitar tracks, it is common practice to use an ambient room mic

in addition to a close mic on the amp. The omnidirectional or

figure of eight patterns on the Cactus are highly recommended

for distant room miking applications on any amplified instruments,

including bass, organ, and blues harmonica.

Piano

Pop and jazz piano recording is usually accomplished with a pair of

microphones placed inside a grand piano, either close to the ham-

mers for a defined, percussive sound, or roughly in the middle of

the piano body to get a more resonant and blended tone. When

using these methods, it is conventional to employ a coincident

stereo pair, with one microphone capsule oriented to pick up the

treble strings, and the other focused on the bass range of the

instrument.

A less common, though very useful technique, is to position a

stereo pair or single Cactus microphone just outside of the piano,

either in the curve of a grand, above an upright, or a few feet

away for a classically-oriented sound with a significant amount

of natural room reverberation. The variable pickup pattern control

can be used to dial in the desired amount of ambience.