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Countryman Isomax 2 All-Purpose Microphone Low Gain with TA4F Connector for Wireless Transmitters (Black)

Countryman Isomax 2 All-Purpose Microphone Low Gain with TA4F Connector for Wireless Transmitters (Black)

Out of Stock
SKU #
COM2CW5FF5AX
Mfr #
M2CW5FF05AX
Manufacturer
Countryman
Description
The black Isomax 2 All-Purpose Microphone, Low Gain with TA4F Connector for Shure AD1, ADX1, AXT100TA4F, GLXD1, PGXD1, QLXD1, and ULXD1 Wireless Transmitters from Countryman features a frequency-independent capsule that delivers tight pattern control as an all-around instrument microphone. It can be used to capture audio in sound reinforcement applications for saxophone, violin, viola, cello, double bass, acoustic guitar, flute, piano, brass, and percussion instruments.The Isomax 2 is built with exceptional gain before feedback and excellent rejection of the surrounding environment. It is lightweight, easy to use, and is designed to handle very-high sound pressure levels. It is supplied with a foam windscreen, basic clip, and carrying case. In addition, the 5' cable is permanently attached to the mic and terminates to a TA4F connector for direct connection to Shure AD1, ADX1, AXT100TA4F, GLXD1, PGXD1, QLXD1, and ULXD1 wireless bodypack transmitters. Applications Inside or outside musical instruments, placed on or hung over stages, and hidden in sets for theater, motion pictures, and TV, the mic can also be used as an audience mic or stage floor mic.Style The microphone is sleek, small, and lightweight and will not distract the instrumentalist or the public. It is easy to hang without scaffolding, which eliminates the risk of bulky equipment falling on performers.Performance Very-low distortion at high SPL levels encountered inside instruments. It offers an uncolored and clean sound with a superflat frequency response.Polar Pattern The cardioid polar pattern is effective for picking up sound directly in front of the microphone and is less sensitive to sound directly behind the microphone. It picks up about 1/3 less ambient noise than the omnidirectional polar pattern, so the working distance (the distance a performer could be positioned from the microphone) is approximately 1.7 times that of the omni. The cardioid pattern works best when you can position the microphone directly towards the sound you wish to record (a lead singer, for example) and directly away from unwanted sound sources like a crowd or a loud monitor.
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