A Newsletter by Clockaudio

A Higher Calling? 
This Month We Focus on HOW.

For years, Clockaudio has been known as being "clearly different".  Whether it is our commitment to quality, or our pursuit of sound quality, one thing is for sure, the professionals that specify our products understand the importance of delivering high value and exceptional products.  I guess, you could say, we hear a "higher calling" when it comes to microphone design. 

This month we are focusing on the
House of Worship market.  Check out the product feature for our C3 Series, some Rules of Thumb for Boundary Microphones, and links to interesting articles, our blog and more!

Read on and enjoy!


Clockaudio's C3 Series
Microphones for House of Worship

Specifically used in ceiling mics, boundary microphones, goosenecks, and suspended microphones, Clockaudio’s C3 microphone element is one of the most versatile Clockaudio products that is useful for a variety of different applications.

One of the more popular applications for this product are Houses of Worship.  HOW projects usually feature wide-open rooms, big enough to accommodate a large audience and subsequently require voice reinforcement.  But, what makes these spaces challenging is the existence of hard, reflective surfaces, that are notorious for generating a lot of echo, which can make capturing speech intelligibly very difficult.
For an altar or a podium, a gooseneck microphone is a great solution.  With a gooseneck the capsule of the mic can be in very close proximity to the source of speech while having a lower input gain which helps minimize the pick-up of room noise.

Clockaudio’s C3S is also a good solution in this application, if a stationary, table top microphone is not an option. Suspended just above and in front of the preacher, the C3S will capture the speaker’s voice louder than the reverberant noises.

Choirs however, present a different challenge. Depending on the number of singers, the standing arrangement, the location and the height of the ceiling, the goal is to capture as many voices as possible at the same decibel level while limiting the pick-up of the room noise as much as possible. Here, a directional microphone with a cardioid pattern can be very effective if set up properly.

In most Houses of Worship, the choir singers are set-up in a specific area, choir stall or loft, which can make capturing their voice a little easier.  A single C3 capsule can essentially capture 10-12 people in a choir formation. A C3SW-RF hanging at approximately 2’ to 3’ in front and above the head of the front line of people, with the capsule (axis) pointing straight at the last row of singers, puts every singer in the best part of the pattern in relation to the distance they are from the microphone. This also puts every participant in a direct line of sight with the microphone, with no obstacles to block their voice. The least sensitive part of the pattern, at the back of the capsule, will considerably attenuate the level of the bouncing echo/reverb from above, keeping the audio level of the choir higher than the noise threshold.
With its 25’ of cable, the C3S is the perfect solution for the high ceilings within a House of Worship, a theatre stage or an auditorium.
The C3S is also available in the CCRM4000, a retractable, motorized unit that can enable the microphone to disappear out of sight when not in use.

Whether capturing a choir in their stall, a preacher at the altar or a speaker at a podium, the many forms of the C3 capsule makes it the perfect choice for all these applications to make a House of Worship sound “Clearly Different”.

Click here for more on the C3S

Did you see this?
Commercial Integrator and Clockaudio team up on mic design & the generational divide.  Read it here

HOW's Changing Face
This month's blog focuses on unique venues for temporary HOW.  Check out our blog page - Click here 



Low profile, easy to install and connect, Boundary Microphones have been a favorite of users and integrators for many years.  Renowned for their performance and reliability, they offer great intelligibility because they are usually installed in close proximity of the participants. Furthermore, the direct sound wave and the reflected sound wave hit the capsule almost simultaneously, resulting in a 6 dBs of boost and a cleaner signal. They come with either an omni-directional or cardioid pattern and can be integrated into almost any application. 
A directional microphone (Cardioid, Hypercardioid, Super Cardioid, Figure-8 or Shotgun) has an axis, a point of direction from the capsule that is more sensitive than any other position. Usually the axis is perpendicular to the diaphragm of the mic element. When using one directional microphone for one person, the axis should be pointing straight at the person, putting them in the most sensitive part of the pattern. You can also capture 2 people very adequately by pointing the axis in between the two participants, putting each participant at equal distance from the capsule and the same off-axis angle.

It is very common to combine the “1 for 2” and “1 for 1” configuration on the same table, as some tables will have an odd number of seats on the sides. Symmetry must always prevail though, in a combined configuration, the 1 for 1 microphones are set at the same distance as the 1 for 2 participants (22” -24” from the edge of the table). Ideally, using 1 mic for 2 people is the goal, but trying to capture three people sitting side by side on a straight table at equal sound levels with one microphone is outright impossible, as the person sitting in the axis will be much louder than the two other people.

If the “1 on 1” configuration is planned for a conference table, microphones can be set as close as 18” from the edge of the table. Remember, the closer the mics are, the less gain is needed, this translates into less room noise being picked up and a cleaner signal to process.

For the 2 for 1 lay-out, microphones with a cardioid pattern will need a minimum distance of 22” from the edge of the table in order to pick up 2 participants adequately. As you move away form the microphone, the pattern widens but also weakens. The set gain should be higher than the 1 for 1 microphone.

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