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The Q7 can be connected to any mixer, mixer/amplifier, or mic preamp using a standard microphone cable. As shown in the wiring diagrams below, connect the female XLR end directly to the Q7�s gold-plated connector and the other end (normally a male XLR end, although some mixers use 1/4" connectors) to the mixer, mixer/amplifier, or mic preamp.
Hot (2) Common (1) Solder Points
1 3 2
Hot (2) Common (1) Solder Points
1 3 2
2 3 1
2 3
1
End View
Cold (3)
Male XLR
Hot
Female XLR
Cold (3)
End View
Tip (Hot)
Hot (2) Common (1) Solder Points
1 2
2 3 1
Male Phone Jack (TS)
Common and Cold Sleeve (Common and Cold)
3
Female XLR
Cold (3)
End View
Ring (Cold) Cold Tip (Hot)
Hot
Male Phone Jack (TRS)
Common Sleeve (Common)
Hot (2) Common (1) Solder Points
1 3 2
2 3 1
Female XLR
Cold (3)
End View
The Q7 can be mounted to any standard microphone stand (using the included mic clip) or can be handheld; due to its unique mic element shock mounting, it generates significantly less handling noise than most other microphones. If handheld, take care not to cover the any part of the head grille with your hand. Be aware of a phenomenon called the proximity effect which causes a noticeable increase in low frequencies (bass response) when a microphone is close to the audio source. This can have positive impact�for example, it will cause your voice to sound much fuller when you sing close to the mic than when you sing at a distance. The Q7 is specially designed to be used up close, since it provides a built-in windscreen for removal of pops, sibilance and onstage noise. The key to developing the best mic technique is experimentation, along with awareness of the general principle that, the closer your Q7 is to a signal source, the greater the bass response.
dB
+10
0
-10
-20
20
50
100
200
500
1000
2000
5000
10000
20000
Q7 Frequency Chart
Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal coming from various areas around the microphone. For example, omnidirectional mics accept all signals regardless of wherever those signals originate (in front of the mic, behind it, to the side, etc.).
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