Private Audio
e 815 S
Article No. 004575
Key Features
- Rugged and reliable design
- High output cuts through the mix
- Specially designed to perform under pressure
- Shock-mounted capsule for low sensitivity to handling noise
studio microphone
Related Products
studio microphone
General Description
The e 815 S is a cardioid vocal microphone specially designed to perform under pressure while cutting through the mix with its high output.
Features
- Metal construction: Rugged and reliable
- Shock-mounted capsule: Low sensitivity to impact and handling noise
- Cardioid pickup pattern: Insulation from other on-stage signals
- Hum compensating coil: Reduces electrical interference
- Neodymium ferrous magnet with boron: Keeps microphone stable regardless of climate
- Falcon ring: Consistent sound over time
- Made in Germany: Superb craftsmanship, quality, and engineering
- On/off switch (magnetic reed): Can be locked in the “on” position if required
- Supplied Accessories
- e815S-X includes XLR - XLR cable, 5mtr.
- e815S-J (discontinued) includes XLR - 6.3mm Jack cable, 5 mtr.
- e815S-C includes microphone clip
studio microphone
Technical Data
| dynamic | |
| cardioid | |
| 80 - 12,000 Hz | |
| 1.5 mV/Pa | |
| 350Ω | |
| 1,000Ω | |
| XLR | |
| 11.6 oz (330 g) | |
| 1.9 x 7.1 in (48 x 180 mm) |
Polar diagram
Glossary
| Transducer principle |
| Two transducer principles have become established for the conversion of electric energy into mechanical energy: electrodynamic and electrostatic transducers, whereby the latter is only to be found in audiophile systems, due to their relatively high manufacturing costs. Electrodynamic transducers basically consist of a ring-shaped permanent magnet and an oscillation coil, which is fixed to the receiver diaphragm. When an audio-frequency alternating current is passed through the oscillation coil, it is caused to vibrate in accordance with the audio-frequency alternating current, thus causing the diaphragm to vibrate in the same way. |
| Pick-up pattern |
| Also known as polar pattern, directivity. According to their acoustic design, microphones differ in their sensitivity towards sound from different directions. Pressure microphones have a sensitivity that is largely independent of direction (omni-directional pick-up pattern). Pressure gradient microphones have the pick-up patterns wide cardioid, cardioid, super-cardioid or figure-of-eight. Interference microphones can be used to achieve a further concentration of the pick-up pattern (lobar pick-up pattern). As a special case, dummy head microphones achieve the pick-up pattern of the human ear/head (dummy head stereo). |
| Frequency response |
| The frequency response of a microphone is given within the limits defined by the manufacturer. In studio condenser microphones it is generally within the range of between 20 Hz and 20 kHz. |
| Sensitivity in free field, no load (1kHz) |
| Voltage measured at the unloaded output of a microphone which is exposed to a sound pressure of 1 Pa and a frequency of 1 kHz in an anechoic chamber. |
| Nominal impedance |
| See impedance. |
| Min. terminating impedance |
| Impedance at which the connected unit meets the specified technical data. If the unit is connected to a lower impedance, it will usually have a lower output voltage or a greater distortion. |
| Connector |
| A standardised single or multi-pole plug for connecting units or accessories. |




