FAQs
The KLOVER MiK 09 requires an omnidirectional lapel (lavaliere) microphone. Omni-directional microphones capture sound from a 360-degree pattern around the microphone. This pickup pattern allows these microphones to capture the sound energy reflected from the outer edges of the parabolic dish. This sound energy may be ignored with a more directional pickup pattern.
Each parabolic microphone has a specific focus point. The microphone element must be placed at this focus point in order to provide the maximum performance from the unit. The focus point of the KLOVER MiK 09 is 1 1/8″ behind (inside) the rear surface of the aluminum frame. The square tab at the bottom of the dish can be used as a setup guide if it is 1 1/8″ wide.
Please refer to the video in the “Assembly Video” for a detailed explanation of the focusing process.
Please see the dimensions in the “Specifications” page.
Please see the dimensions in the “Specifications” page.
No. We have designed all the Klover MiK products to take the abuse of everyday use. The only critical portion of the Klover MiK is the inside surface of the parabolic dish. We suggest transporting the Klover MiK 09 with the dish attached to the aluminum frame to reduce any chance of scratching the inside surface of the dish. Using a case or carrying bag for additional protection when transporting our parabolic microphones is also suggested.
The KLOVER MiK 16 requires a microphone with an omnidirectional or wide-cardioid pickup pattern. A small diaphragm condenser (pencil) mic may be used between 3/4 and 7/8 inches in diameter. In addition, a lapel (lavaliere) microphone up to 5/16 inches in diameter may be used with the included mic adapter tube.
Omnidirectional microphones capture sound from a 360-degree pattern around the microphone. Wide-cardioid microphones have a pickup pattern that goes beyond 180 degrees. Both of these microphones capture the sound energy reflected from the outer edges of the parabolic dish. This sound energy may be ignored with a more directional pickup pattern.
Each parabolic microphone has a specific focus point. The microphone element must be placed at this focus point to provide maximum performance from the unit. The focus point of the KLOVER MiK 16 is 1-1/8 inches behind (inside) the rear surface of the mic mount hub or 1-1/2 inches behind the front face of the collector dish.
A label on the face of the collector dish includes a line that is 1-1/8 inches wide for adjusting the focus.
Please refer to the video in the “Assembly Video” for a detailed explanation of the focusing process.
Please see the dimensions in the “Specifications” page.
Please find the product weight in the “Specifications” page.
The KLOVER MiK 16 is shipped with an “adapter tube” that fits inside the center hub of the microphone yoke and has an inside diameter that is significantly smaller. The most common method of mounting a lapel microphone inside this tube is to wrap the mic cable with soft foam rubber before locating the mic inside the tube. When the foam expands, it centers and retains the mic.
We are currently shipping a plastic microphone clip that snaps on the outside of the lapel microphone and then slips inside the adapter tube.
No. The four models of the KLOVER MiK 16 are functionally equivalent. The way that the dish is supported is the only physical difference.
The KLOVER MiK 26 requires a microphone with an omnidirectional pickup pattern. A small diaphragm condenser (pencil) mic may be used between 3/4 and 7/8 inches in diameter. In addition, a lapel (lavaliere) microphone up to 5/16 inches in diameter may be used with the included mic adapter tube.
Omnidirectional microphones capture sound from a 360-degree pattern around the microphone. This allows them to capture the sound energy reflected from the outer edges of the parabolic dish. This sound energy may be ignored with a more directional pickup pattern.
Each parabolic microphone has a specific focus point. The microphone element must be placed at this focus point to provide the maximum performance from the unit. The focus point of the KLOVER MiK 26 is 2-1/4 inches behind (inside) the rear surface of the mic mount hub or 4 inches behind the front face of the collector dish.
A label on the face of the collector dish includes a line that is 2-1/4 inches wide for adjusting the focus.
Please refer to the video in the “Assembly Video” for a detailed explanation of the focusing process.
Please see the dimensions in the “Specifications” page.
Please find the product weight in the “Specifications” page.
The KLOVER MiK 26 is shipped with an “adapter tube” that fits inside the center hub of the microphone yoke and has an inside diameter that is significantly smaller. The most common method of mounting a lapel microphone inside this tube is to wrap the mic cable with soft foam rubber before locating the mic inside the tube. When the foam expands, it centers and retains the mic.
We are currently shipping a plastic microphone clip that snaps on the outside of the lapel microphone and then slips inside the adapter tube
No. These two models are functionally equivalent. The only difference between the two models is the shape of the flat flange on the front surface of the parabolic dish. The shape of the “TE” model allows the dish to be rotated slightly to fit within a waterproof (Pelican style) shipping case. It also allows the unit to fit in a slightly smaller shipping container, which reduces its shipping cost.
The Big Ears, which has been widely used for many years, did not provide a true parabolic dish. The dish was more similar to a hemisphere than a parabola.
This shape provided a wider, less focused pickup pattern than a dish with a true parabolic. This shape also provides less defined, less crisp audio.
The Big Ears, which has been widely used for many years, did not provide a true parabolic dish. The dish was more similar to a hemisphere than a parabola.
This shape provided a wider, less focused pickup pattern than a dish with a true parabolic. This shape also provides less defined, less crisp audio.
Some operators will notice the flexibility of the handles. This flexibility is the result of our patented construction method that isolates the handles from the dish itself. Products that mount the handles directly to the plastic dish often generate unwanted noise from the movement of the handles. The isolation of the handles from the dish allows the handles to move slightly but keeps any stress placed on the handles from being transferred to the plastic dish, which would cause the dish to create noises such as creaks and pops. While it may initially seem uncomfortable to operators accustomed to the older design, they adjust quickly.
The microphone yoke (support bar) is also isolated from the dish to eliminate any noise created by the movement of the mic yoke.
First, carbon fiber is very light and strong. Second, and more importantly, when a carbon fiber tube breaks, it turns into small weak strands. Handles made from PVC are strong, but when they do break, they create very sharp, jagged edges, which basically create a spear. Handles made from metal tubes or plates are so strong that they will not bend or fail until they have done serious injury to the operator or athlete that may have collided with them.
Parabolic microphones are involved in many collisions during the course of a sports season. We take the safety of operators and athletes very seriously and have done all we can to provide the safest products possible.
If the KLOVER MiK 26 will be stationary for long periods of time, we suggest the use of one of our mounting accessories. The Monopod Mount replaces the rear crossbar of the handle assembly. It allows the entire unit to be mounted on top of a tripod or monopod while still allowing the unit to be aimed by the operator.
We also offer a pole-mounted version of the KLOVER MiK 26 for permanent installations. This custom version replaces the handle assembly with brackets that will mount the dish to a pole while allowing for adjustment about the horizontal and vertical axes.
Our first recommendation is to mount the KLOVER MiK on top of a monopod by replacing the rear crossbar of the handle assembly with a Monopod Mount. Placing the KLOVER MiK on top of a monopod takes the weight of the parabolic off of the operator’s shoulders and allows the operator to simply “point” the parabolic in the proper direction. We feel this also improves the operator’s safety as the operator can simply let the parabolic fall to the ground if a collision with a player is imminent, instead of having to run from the collision with the parabolic still around their neck.
A second option, though untested, is to combine the proper use of the neck strap, as demonstrated in the “Proper Operation” video (under “Assembly Videos”), along with the use of a Bicep Curl Belt to provide support for the operator’s elbows.
The ideal distance for a shotgun microphone from a speaker depends on several factors, but here are some general guidelines:
1. Typical range:
- Shotgun mics are usually effective from about 1 to 3 feet (30-90 cm) away from the speaker.
2. Optimal distance:
- For best results, aim for about 1 to 2 feet (30-60 cm) from the speaker's mouth.
3. Factors affecting distance:
- Room acoustics: In echo-prone spaces, closer is better.
- Background noise: More noise requires closer placement.
- Speaker's volume: Quieter speakers need the mic closer.
4. Positioning:
- Aim the mic slightly above the speaker's mouth, angled down.
- This helps avoid breath noise and plosives.
5. Off-axis rejection:
- Shotgun mics reject off-axis sound, so precise aiming is crucial.
6. Too close vs. too far:
- Too close can cause bass buildup (proximity effect).Too far can pick up more room noise and reverb.
7. Test and adjust:
- Always do a sound check and adjust based on the specific situation.
Remember, these are general guidelines. The best distance can vary based on the specific microphone model, the acoustic environment, and the desired sound quality.
Using 32-bit audio offers several advantages, particularly in professional audio production:
1. Dynamic range: 32-bit float provides a theoretical dynamic range of 1,528 dB, far exceeding human hearing capabilities and any real-world audio scenario.
2. Headroom: Virtually unlimited headroom, eliminating concerns about clipping during recording.
3. Noise floor: Extremely low noise floor, allowing for very quiet passages without introducing system noise.
4. Processing flexibility: Maintains higher precision during complex audio processing and mixing operations.
5. Future-proofing: Captures the highest possible quality, allowing for future use as playback systems improve.
6. Simplified workflow: Reduces the need for careful gain staging during recording, as levels can be adjusted later without quality loss.
7. Compatibility: Easy to convert to lower bit depths (like 24-bit or 16-bit) for final delivery without quality issues.
8. Error resilience: More resistant to cumulative errors from multiple processing stages.
9. Wide range of values: Can represent both very small and very large values accurately.
10. Non-destructive editing: Allows for extreme editing and processing without degrading the original signal quality.
While 32-bit audio files are larger and not all devices support playback, they're increasingly used in professional recording and post-production environments.
The main differences between a microphone input and a line-level input are:
1. Signal strength:
Microphone inputs are designed for weak signals, typically in the millivolt range.
Line-level inputs expect much stronger signals, usually around 1 volt.
2. Impedance:
Microphone inputs have a high impedance, often several kilohms.
Line-level inputs have a lower impedance, typically around 10 kilohms.
3. Preamplification:
Microphone inputs include a preamplifier to boost the weak signal.
Line-level inputs don't require additional amplification.
4. Phantom power:
Microphone inputs often provide phantom power for condenser mics.
Line-level inputs don't supply phantom power.
5. Connector types:
Microphone inputs commonly use XLR connectors.
Line-level inputs often use 1/4" TRS or RCA connectors.
6. Typical sources:
Microphone inputs are used for microphones and some instruments.
Line-level inputs are for devices like synthesizers, CD players, or audio interfaces.
Noise Reduction is a process or technique used in audio production to minimize unwanted background noise in recordings. Here's an overview:
1. Purpose: To improve audio quality by reducing or removing unwanted sounds.
2. Types of noise addressed:
- Background noise (e.g., air conditioning, traffic)
- Electrical noise (e.g., hum, hiss)
- Environmental noise (e.g., wind, room reverb)
3. Methods:
- Spectral subtraction
- Adaptive filtering
- Multi-band noise gating
- AI-based noise reduction
4. Application: Can be applied during recording or in post-production
5. Tools:
- Hardware units
- Software plugins
- Built-in features in DAWs (Digital Audio Workstations)
6. Considerations:
- Over-application can lead to artifacts or "hollow" sound
- Balance between noise reduction and preserving original audio quality
7. Common uses:
- Cleaning up dialogue in film/video production
- Improving quality of music recordings
- Enhancing archival audio
8. Limitations:
- Cannot completely eliminate noise without affecting desired audio
- Effectiveness varies based on type and amount of noise
9. Professional vs. consumer applications:
- Professional tools offer more control and better results
- Consumer-grade options are simpler but may be less effective
Sound Devices' "Noise Assist" is a valuable feature for audio professionals, particularly in field recording and production sound. Here are the main reasons to use it:
1. Real-time noise reduction: Reduces unwanted background noise during recording, not just in post-production.
2. Preserve audio quality: Designed to minimize artifacts and maintain the integrity of the primary audio.
3. Flexibility: Offers adjustable settings to tailor noise reduction to specific environments.
4. Time-saving: Reduces the need for extensive noise reduction in post-production.
5. Improved clarity: Enhances the intelligibility of dialogue and other important sounds.
6. Adaptability: Can adjust to changing noise profiles in dynamic environments.
7. Multiple channel support: Capable of processing multiple audio channels simultaneously.
8. Confidence in difficult locations: Allows recording in noisy environments that might otherwise be challenging.
9. Complementary to other techniques: Can be used alongside traditional noise reduction methods like proper mic placement.
10. Non-destructive: The original, unprocessed audio is typically recorded alongside the noise-reduced version.
"Noise Assist" is particularly useful for location sound recordists, documentary filmmakers, and other professionals who often work in unpredictable or noisy environments.
To connect an external microphone to a PTZ (Pan-Tilt-Zoom) camera, follow these general steps:
1. Check the camera's audio input: Most PTZ cameras have an audio input port, typically a 3.5mm jack or XLR connector.
2. Choose the right microphone: Select a microphone compatible with your camera's input type.
3. Use appropriate cables: Ensure you have the correct cable to connect your microphone to the camera's input.
4. Connect the microphone: Plug the microphone into the camera's audio input port.
5. Configure camera settings: Access the camera's menu or settings to enable external audio input if necessary.
6. Adjust audio levels: Fine-tune the audio input levels in the camera settings for optimal sound quality.
7. Test the setup: Record a test video to ensure the external microphone is working correctly.
The exact process may vary depending on your specific PTZ camera model and microphone type.
If your camera has a USB port, it may be possible to use a microphone with an XLR connector, even if your PTZ camera does not have an XLR port. Products such as the Maker Hart “Mic Power” can power the XLR mic using the power from the USB port. PTZ Optics has used this product successfully with their PTZ cameras.
Lower frequencies are absorbed more than higher frequencies. That is a fact that cannot be ignored. However, the loss of low-end response for parabolic mics is not nearly as bad as some would have you believe. We have a short video that was shot during the setup of an outdoor music event. The low frequencies of the music (being used to set up the audio system) were picked up quite well by a 9-inch parabolic. In addition, nearly every mixing board and video editing software package will allow you to add base and reduce high-end frequencies to equalize the audio input from the parabolic mic to suit your taste.
Most audio experts, including people we respect very highly, would tell you that a 9-inch parabolic will not capture (amplify) any audio below 2,000 or 3,000 Hertz. The white papers and formulas that we have found in our research would confirm this belief. However, if this were true, very little of the human voice would be picked up by a 9-inch parabolic, and the low frequencies of bass would certainly be below this threshold. Our second sample video demonstrates that this is not the case, as it shows how well the small parabolic mic captured the low-frequency sounds generated by WWII aircraft.
Our theory is that most of the research on parabolic reflectors relies on the properties of electromagnetic waves, particularly the wavelength of those waves. These waves apply to satellite dishes or antennas but not to audio. A parabolic microphone captures pressure waves, not electromagnetic waves, so the wavelength is not relevant in the same way as it is to electromagnetic (radio) waves.
As mentioned above, we cannot ignore the way that various frequencies react differently when reflecting off a surface. Parabolic collectors (microphones) do a better job of amplifying higher frequencies than lower frequencies. In order to provide a more natural sound, we have joined forces with Countryman Associates to create a microphone that is specifically equalized to match the acoustic characteristics of the KLOVER MiK 09 parabolic collector. The equalization also works exceptionally well with the KLOVER MiK 16, giving each a flatter, more natural sound than when used with a standard lavaliere microphone element. Find out more about our Equalized Mic here.
There are many factors involved. The attenuation of sound, the natural loss of energy as it passes through the air, is affected by frequency, temperature, and humidity. In addition, the amount of energy reflected or absorbed by the surface between the sound source and the microphone also affects the amount of sound energy that reaches the microphone. Another factor that has to be considered is the “signal-to-noise ratio.” In other words, how loud is the audio source you want to capture compared to the ambient noise you don’t want to capture? A parabolic microphone will amplify all sound energy (of equal frequencies) by the same factor. So you may be able to capture a conversation from 500 feet in a nearly silent environment, but it won’t be possible if the conversation is taking place next to a highway. The parabolic will not be able to separate the sound of the human voices from the road noise.
Considering all those factors, we have captured conversation from more than 500 feet in quiet situations (relatively empty football stadium) using our 26-inch parabolic. In similar cases, we have captured conversations from more than 250 feet with our 16-inch parabolic. In the quiet environment of a wedding service, we have had customers capture wedding vows from 50 feet away. If you are interested in capturing high-frequency sounds, such as bird noises, the range will be even greater.
Please see the Frequently Asked Questions tab at the bottom of the individual product page. We do, however, have a few general guidelines:
We suggest using a water-resistant microphone, such as the Countryman B3, if your parabolic mic will be used outdoors.
Lapel microphones tend to be “bright” or slightly biased toward high frequencies. If weight is not an issue, a small diaphragm condenser (pencil) microphone will usually provide a flatter audio curve.
Microphones with a higher sensitivity will provide greater range.
A microphone with minimal internal electronic noise (self-noise) is highly recommended.
We do not recommend using a parabolic microphone for recording music. As mentioned throughout our website, parabolic microphones do have a bias toward high frequencies, so the music will not sound “pure.”
Yes, to an extent. We’ve been pleasantly surprised by how much conversation can be captured when the speaker is not facing directly toward the parabolic. While the maximum sound energy is available when the speaker is facing the parabolic collector, it (pressure waves) radiates out from the side of the speaker’s head as well as directly forward. In addition, the sound energy is often reflected off a nearby person or object toward the parabolic.
We’ve designed our parabolic mics to allow users to use whatever microphone element they might like, so we do not include the electronics with our parabolic mics. We believe this provides our customers with the maximum performance and flexibility. We do, however, offer kits/packages that bundle the parabolic microphone with the required electronics.
The simple answer is that the pickup pattern looks like a cone. The best audio will be captured within a cone that extends 10 to 15 degrees on either side of the axis of the dish. This provides a circular area with a diameter approximately half the distance of the dish. In other words, at 100 feet, you will have a pickup pattern that is a circle about 50 feet in diameter. However, as the frequency increases, the range will increase, and the pattern will become smaller. Please refer to our test curves under the “Test Results” tab at the bottom of the individual product pages.
The most common reason for not receiving any signal from the parabolic is not providing the proper power to the microphone element. If you are using a microphone with an XLR connector, check if the microphone requires “phantom power .”If your microphone requires “phantom power,” verify that the device you are plugging your microphone into is providing the required “phantom power” voltage (usually between 12 and 48 volts). If you are using a microphone with a 3.5mm TRS connector, check if the microphone requires “plug-in power .”If your microphone requires “plug-in power,” verify that the device you are plugging your microphone into is providing the required “plug-in power” voltage (usually between 3 and 10 volts).
Yes and No. Because parabolic microphones are so sensitive, feedback is a huge challenge. Great care must be taken with the location of the parabolic mic relative to the speaker.Mounting the parabolic at an angle to any flat surfaces, such as walls, will help to reduce this feedback.
No. Despite what you may have seen on television or in the movies, that’s not possible. You must have a clear path between your subject and the parabolic to capture the sound energy.
Yes and No. While our parabolic microphones will probably capture audio from your neighbor’s yard, you will be taking a huge legal risk if you do so. If you record a private conversation, you are in danger of being accused of eavesdropping on the conversation and wiretapping. Our parabolic mics are intended for broadcast, sound reinforcement, and law enforcement/security applications.
While parabolic microphones are not typically used for music recording, they can be used in certain niche situations. Here's an overview:
1. Primary purpose: Parabolic mics are designed for long-distance sound capture, not music recording.
2. Potential music applications:
- Capturing ambient sounds or crowd noise at concerts
- Recording unique sound effects for electronic or experimental music
- Isolating specific instruments in a large ensemble from a distance
3. Limitations for music:
- Can color the sound unnaturally
- Lack of proximity effect for warmth in close-miking situations
4. Sound characteristics:
- Highly directional
- Can pick up sounds from long distances
- May have a "thin" or "tinny" quality for music
5. Comparison to traditional music mics:
- Less accurate frequency response than studio condensers or dynamics
- Much more directional than most music microphones
6. Practical challenges:
- Large size makes placement difficult in typical recording setups
- Not designed for close-miking techniques common in music recording
7. Possible creative uses:
- Capturing unique reverberations or echoes in large spaces
- Recording environmental sounds to layer into music productions
8. Better alternatives for music:
- Condenser microphones for studio recording
- Dynamic microphones for live performances
- Shotgun microphones if high directionality is needed
While parabolic microphones can be used creatively in music production, they are generally not the first choice for standard music recording. Their unique properties might be useful for specific artistic effects or unconventional recording techniques.
Klover Products Inc. Limited Warranty Policy warrants all products to be free from defects in materials and workmanship for one year from the date of purchase unless otherwise stated.
If your KLOVER MiK doesn’t provide the great audio you expect, return it within 30 days for a full refund. The product must be in like-new condition to qualify for a full refund.
Please see full details on our “Terms & Conditions” page.
Yes. A list of dealers is on our “Dealer and Rentals” page.
Yes. A list of rental locations is on our “Dealer and Rentals” page.
Typical order processing times are detailed at the bottom of the “Cart” and “Checkout” pages.
The estimated delivery for the available shipment methods is listed on the “Cart” and “Checkout” pages. These estimates do not include customs clearance for international shipments. Typical order processing times are also detailed at the bottom of the “Cart” and “Checkout” pages.
Yes. While we have a dealer network (listed on our “Dealer and Rentals ” page), we can ship directly to our customers. The shipping cost quoted on our “Cart” and “Checkout” pages does not include any broker fees, import duties, tariffs, etc., for international shipments. The customer is responsible for all such costs.
Can Your Mic Reach As Far Your Lens?
