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2X48 + ACJ

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2X48 + ACJ

ISCHELL Pickups

Thank you for purchasing a system ISCHELL. We are delighted to welcome you to the growing number of world-renowned music, technician, audio engineers and artist users who have chosen to use our systems.

We are at your disposal and we will always remain so over time, for any question relating to the use of our systems on your instrument. Your complete satisfaction is a priority for us. Consult the online help and contact us if necessary.

  • The model 2X48 + ACJ is a system with a remote preamp that works on 9v battery (250 hours) or on phantom power (automatically). It receives the signal from the two microphones via a cable Jack stereo, has a volume control per channel and independent outputs in Jack and XLR, its microphone kit is fixedly installed in the instrument with a 12mm hole for the Jack, this system adapts to many instruments ... It is equipped with the miniature aerial microphone Ischell A1 allowing you to get as close as possible to the sound source, recognized for its quality and linearity, and second, the contact microphone C1 developed by the brand ISCHELL in 2008, and also now the C2 or the C3, in order to reproduce with the greatest fidelity the acoustics of your instrument, the attack, the timbre, the woody color, your playing and your playing nuances, without the problems of feedback and resumption of surrounding sounds. Our hybrid Air / Contact technology works without a filter between the membrane and the soundboard of your instrument. We thus reproduce on a reduced and isolated scale an aerial sound recording controlled by the immediate environment of our specific putty audio adhesive. A revolution in the amplification of many instruments on stage, an innovation ISCHELL !
  • All our products are manufactured and assembled in France by hand, with awareness and respect for a job well done, only with high quality components, for products that we hope will bring you satisfaction for many years on stage, in the studio and at each of your performances amplified.
  • We strongly recommend that you take a few minutes to read this manual. Indeed, it is important to respect a few principles in order to benefit simply and quickly from these new systems.

What you need to know

  • Always unplug your instrument before attempting placement again or changing the low cut.
  • Wash your hands before kneading the putty and carefully clean the bonding areas before doing your tests, they must be clean, dry, non-greasy and smooth.
  • Carefully read the contact microphone preparation mode and uUse only the audio adhesive putty ISCHELL !
  • This system operates on phantom power with XLRs.
  • You must use a Jack stereo connection between the microphone kit and the pre-amp.
  • Operation on 9v battery (250H) is activated when connecting a Jack (Output).
  • Unplug them Jacks (output) at the end of the session to preserve the 9v battery.
  • In the presence of phantom power, the 9v battery does not wear out.
  • The contact microphone corresponds to MIC 1 and the aerial to MIC 2
  • Operate gently to act on the low cut. A small pointed object is needed to operate the switches.
  • The use of the low cut for the aerial microphone is strongly advised in all cases, 360Hz is the default position.
  • The contact microphone is also delivered to you in the 360Hz position. However, if after finding the best position you are running low on bass width, then try 180Hz (Mid Position) or Flat (Full Bandwidth). Additional information will be given to you in the “installation on your instrument” part of this knowledge base.
  • This system is like your instrument, it is fragile. Never pull on the cables, always remove the contact microphone delicately from your instrument, taking it by the shell and gently tilting it while removing the putty to avoid a too sudden suction effect (fragile membrane) and to preserve the surface of the instrument.
  • In the case of using the double-sided to fix one of the elements of the system, avoid putting your fingers on the sticky part as much as possible. Gently twist the piece to loosen it.

Low cut

 

  • Two small switches are available on the upper surface allowing three 180Hz / 360Hz / Flat positions.
  • The two switches on the left cut the bass below 360Hz (maximum cutoff).
  • The 180Hz position is obtained by putting the top switch on the right (the bottom one remains on the left).
  • To have all the bandwidth (Flat), push the bottom switch to the right (the top one stays on the left).

Choice of adhesive putty for the C1 Original:

  • Your system is delivered to you with 2 doses of adhesive putty, one white and one gray, they do not have the same sound.
  • The white putty has a linear sound and rather bright in the highs, this is the one you should use by default for your testing.
  • The gray putty sounds rounder in the bass and duller in the treble. When the sound remains too bright with the white putty, try with the gray putty in the same spot. Suitable for very shiny instruments and sometimes for quartet, double bass, violin ...
  • We recommend that you start testing with the white putty. If after determining the best position the sound remains too bright or lacks roundness, then try with the gray putty in the same spot.

Preparation of the C1 Original contact microphone

  • Knead and stretch a portion of the supplied putty audio adhesive for at least 30 seconds to heat it up and make it stickier.
  • If it is less than 18 ° in your room, you can possibly warm it slightly by bringing it near a source of gentle heat.
  • Then make a regular roll 6cm long and 6mm in diameter.
  • Then place it around the edge of the microphone provided for this purpose, taking care to connect the two ends of the roll well by covering them, then release the central part without crushing it
  • The place chosen for installation must be clean and dry, degreased if necessary.
  • Put the microphone down then press it lightly, it should not touch the instrument, approximately 2 / 3mm.
  • Then seal the putty all around the mic to make the middle part of the mic airtight.
  • Then place a cable clip 3/4 cm with a little putty to avoid picking up noise by the cable.
  • If during the first tests a sharp feedback is heard, it means that the seal has not been respected, press the putty all around the microphone again.
  • If you find that the tonal balance is good but the sound is not homogeneous in its dynamics (volume of the notes) or harmonics, lightly press the microphone again, this will compress the sound and may correct these problems. If possible, use the adjustable shim provided. See below.
  • If you think you have compressed your sound too much, you can, without removing the microphone, try to pinch it to make it go up a bit. Attention, all these manipulations must be unplugged microphone.
  • Important: Only use the audio adhesive putty ISCHELL, any other putty will distort the sound.

Compression control

You can use the included adjustable compression shim to control the pressure on the mic. Indeed, the pressure on the microphone acts as an audio compressor, the more you push it into the adhesive putty, the more you compress the output sound, so you will have less level but a more stable sound in its dynamics. Can also correct harmonics that would be redundant on a violin, folk guitar ...

  • Place the microphone where you want it and lightly press it down.
  • Adjust the level of compression by turning the knob on the cleat.
  • Place the wedge on the microphone and press until it touches the surface of the instrument.
  • Wait a few seconds, remove the wedge then seal the putty all around the microphone to ensure a seal.
  • Try the instrument.
  • Increase the compression level if necessary by repeating this operation. 
  • The average compression point is located between the 5th and 7th point on the cleat, starting from the smallest.
  • Can be used to know the compression of your microphone if you need to remove it in order to reproduce it. Place the wedge on the microphone and then turn the knob until you feel you touch the microphone. Note the value of the button in order to reproduce this depression during the next pose.

Choice of adhesive putty for C2 and C3:

  • Your system is delivered to you with 2 doses of adhesive putty, one white and one gray, they don't have the same sound.
  • The white putty has a linear sound and rather bright in the highs, this is the one you should use by default for your testing.
  • The gray putty sounds rounder in the bass and duller in the treble. When the sound remains too bright with the white putty, try with the gray putty in the same spot.

Preparation of contact microphones C2 and C3

  • The amount of putty used to place the microphone influences the compression of the sound. The dose provided is 3,5 grams. With the full dose of putty, the sound is not compressed, with half, or 1,5 grams, the sound is very compressed.
  • By default, to start your tests, remove a third of the dose to have approximately 2,4 grams which corresponds to an average compression. Knead and stretch the putty for at least 30 seconds to warm it up and make it stickier before use.
  • If it is less than 18 ° in your room, you can possibly warm it slightly by bringing it near a source of gentle heat.
  • Then make a regular roll 6 cm long.
  • Then place it around the edge of the microphone provided for this purpose, taking care to connect the two ends of the roll well by covering them, then pull out the central part to form a bowl. Take inspiration from the photos below for the preparation of the putty and its placement around the microphone.
  • The place chosen for installation must be clean and dry, degreased if necessary.
  • Place the microphone then press on it by making a very small movement from left to right to make it adhere well and ensure the seal.
  • Then place a cable clip 3/4 cm with some remaining putty to avoid picking up resonances through the cable.
  • If during the first tests a high-pitched feedback is heard, it is because the seal has not been respected, press the microphone again.
  • About sound compression: it allows you to balance the power of the strings or notes between them, it also helps to attenuate any annoying harmonics and to reinforce bass and precision. However, if it is too compressed, the sound can become harsh in the attacks, closed, with a lack of resonance, expression or presence in the treble. With a sound that is not compressed enough, there may be an imbalance between notes or strings, redundant or distracting frequencies, a sound that is too broad with a lack of precision. Adjust the dose according to the result obtained.
  • If the microphone does not seem to be in the right place, gently remove it then reform the putty all around by giving it height, you can then try again positioning without having to redo the process of preparing the microphone.
  • If the sound is too bright, use the gray adhesive putty which has a duller sound in the highs and rounder in the lows.
  • Important: Only use the audio adhesive putty ISCHELL, any other putty will distort the sound.

 

Installation of the aerial microphone

  • Consult the information on installing and positioning the microphone on your instrument in the topics of this knowledge base.
  • The installation of the aerial microphone does not generally pose any problems. You can fix it outdoors with double-sided (supplied) or putty adhesive for very fragile varnishes. The installation inside the instrument can also be done with Velcro.
  • The low cut for the aerial mic should be set to 360Hz by default.

Features

  • Model 2X48 + ACJ
  • Free standing pre-amp
  • Fixed installation of jack on the instrument with 12 mm drilling required. Tips for drilling and installing the Jack 
  • Microphone input Jack stereo
  • Independent volumes for each channel
  • Independent outputs in Jack and XLR can be used simultaneously
  • Runs on 9v battery or phantom power automatically
  • High pass three positions: 360Hz, 180Hz, Flat
  • Double microphone kit, aerial + contact
  • Condenser microphones
  • Contact microphone C1, C2 or C3 Microphone characteristics 
  • Aerial microphone A1, omnidirectional, bandwidth 40 / 18000Hz
  • Active electronics
  • audio adhesive putty for the contact microphone supplied
  • Cable lengths depending on the instrument, 45 - 65 - 100cm
  • Case weight: 300 grams with the battery
  • Case dimensions: 13 x 10 x 3 cm
  • Microphone kit weight: 35 grams
  • Made in France

After-Sales Service

  • Our products are guaranteed against any manufacturing defect for 2 years from the date of purchase.
  • We are at your disposal and we will always remain so in time for any question relating to the use of our systems on your instrument.
  • Your complete satisfaction is a priority for us. Consult the online help and contact us if you cannot find the solution to your problem.
  • Refer to the CGV on www.ischell.com for more information on the warranty.

Contact

ISCHELL MICROPHONES  119 impasse de la gare – 44800 Saint-Herblain – Region: Pays de la Loire – FRANCE

Tel: +33 (0)6 62 09 54 91 – Email: info@ischell.com

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