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N'goni

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Equipment installation

Removable models X48C / X-Jack / 2X48AC / 2X48CC / CPJ microphone kits / ACPJ

  • Plan your cable route and system placement.
  • The microphone is placed by default inside under the bridge, on the skin.
  • Check that the skin is not lint, if necessary sand it with sandpaper to make the area nice, clean and smooth.
  • If the skin tends to be oily, varnish the area.
  • Detachable microphone systems and kits can be attached internally to the neck when hearing access is facilitated. Otherwise, they can be placed outside on the calabash. In any case, carefully clean the places where the system is bonded so that the Velcro adheres well. Remove any dust, choose a surface as level as possible.
  • Place the contact microphone in the desired location, a cable tie at 3 cm, then carry out your first tests. Adjust the mic placement if necessary several times. See below.
  • Secure the aerial microphone with putty adhesive for testing then the Velcro provided.

Fixed systems, installed with drilling as with the models Inside J48C, Inside X48C :

  • Plan your cable route and system placement.
  • The microphone is placed by default inside under the bridge, on the skin.
  • Check that the skin is not lint, if necessary sand it with sandpaper to make the area nice, clean and smooth.
  • If the skin tends to be oily, varnish the area.
  • Then drill the calabash at 12 mm for the Jack, 24 for the XLR Drilling an instrument and installing the Jack
  • If necessary, carry out your first tests without fixing the system so that you can easily adjust the high pass if necessary.
  • Place the contact microphone in the desired location, a cable tie at 3 cm, then try. Adjust the mic placement if necessary several times. See below.
  • Attach the 9v battery pouch to the inside on the handle or to the edge of the hearing if possible. Flatten the area and dust carefully in this case.
  • Secure the volume dial (option) on the inside at the edge of the hearing with the Velcro so that only the dial protrudes.
  • For the version with volume knob, make a rectangle hole of 15 x 12 mm. Then move the potentiometer from the inside to the outside. Then fix it using the supplied plate
  • Secure and retract the excess cable inside using the cable ties. You can make loops with the 3 cable ties.

Positioning of the contact microphone

  • As a reminder, it is important to properly prepare your contact microphone for installation, do not hesitate to reread the advice below depending on your model:
  • Original C1 contact microphone preparation page
  • C2 and C3 contact microphones preparation page
  • We recommend placing the contact microphone on the skin, under the bridge in the center to start.
  • Make your first tests. Generally, the tonal balance is good between bass and treble. By placing yourself just under the bridge you have the maximum power and dynamics but the sound can also be harsh. In this case, move a little away from the bridge towards the bottom of the instrument, 1 to 3 cm for a softer sound.
  • If the tonal balance is not good, you notice a flagrant imbalance with a lack of power in the high strings, then you will probably have to try to place the microphone on the outside in the center of the bridge.
  • The contact microphone on a traditional N'goni can also be placed on the flat crossbar located inside, on the neck side, by placing the microphone as close as possible to the center on this bar, it is normally a balanced sound, wooded.
  • Your system is delivered to you with the high pass set to 360Hz, this is the default position, however if after determining the best placement for the string power balance you find that the sound lacks bass, then position the high pass on 180Hz. If you find that the sound still lacks depth in the bass, set it to Flat.
  • If the sound is too bright, try resting the mic in the same spot with the gray putty for a duller sound in the highs and rounder in the bass.
  • Adjust the compression if necessary. If the notes or strings are more or less strong, try to press the microphone again in order to compress the sound which can correct these problems of note power, strings but also overtones too present, if possible use the driving wedge supplied.
  • In the case of a second contact microphone, place it in one of the other positions to create a stereo.

Positioning of the aerial microphone

  • The aerial microphone is placed in the center under the bridge, next to the contact microphone. The sound is full and powerful at this point and allows you to recover the sound of the
    calabash, bass, roundness, warmth ...
    The combination of the two microphones in professional conditions allows a powerful and very natural sound.
  • The low cut position for overhead mics is always 360Hz, your system is delivered to you in this position.

Stage use

Using the contact microphone:

  • Allows high levels face / returns, easy use on amp.
  • Use of effects pedals, loopers with loops without repisse ...
  • Contact microphone + Aerial on noisy stages, put only the contact microphone in return and on the front panel 60% contact and 40% aerial.

Common equalizations with the aerial microphone:

  • Reduce the bass if necessary below 200Hz
  • Make a dip around 400 / 500Hz (recurring).
  • On oversized subsystems, add a low cut.
  • On some systems, reduce the treble slightly.

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