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Top 10 Frequently Asked Questions 

Here are answers to frequently asked questions. If your question is not answered here, please Contact Us.


1. What is the difference between the Model 111 and Model 711? Which is better?

One is not “better” than the other; these microphones are simply different animals. Both are dynamic moving coil microphones featuring the Lampifier circuit, and both feature a “proximity effect” (a heightened bass boost when the sound source is close to the microphone). However, the mics sound different. The model 111 has an EQ curve that is optimized for vocal presence according to the well-defined industry standard for professional vocal microphones. The 711 has a flatter response in the midrange and a slight, rounded bass boost and added “sizzle” in the higher frequencies. So a general rule of thumb is that for vocals the 711 has a decidedly thicker, “bigger” sound, while the 111 cuts through a bit more aggressively. The 711 would be a better choice for an open mix, without a lot of sonic competition, where the voice is high above the other instruments. The 111 is a better choice in a crowded, dense mix, where a more cutting presence is required.

Also, in practical terms the 111 is likely to be better in situations where the sound source is close to the mic because the proximity effect (bass boost) can help balance its strong, projected upper midrange as needed. On the other hand, the 711 is preferred if you expect the sound source to typically be further away. When the sound source is further away (12”), the 711’s slightly heightened bass response in its EQ curve will act to retain more of the low end. That is to say, when the proximity effect is not in play, you will still tend to have a balanced and present low end. Distance mic’ing with the 111 is likely to create a somewhat thinner sound.

Finally, the Model 111 has a supercardioid polar pattern while the 711 has a cardioid pattern. The supercardioid pattern rejects off axis sounds better and can operate at higher sound levels without feedback. (Note that the difference is largely directional. See product insert for details.)

2. I'm having a feedback problem. What should I do?

A Lampifier Microphone is less prone to feedback than other microphones at a similar volume due to its built-in signal processing. However, any microphone is still capable of producing feedback under the right (wrong) conditions. First, insure that all standard precautions against feedback apply here:

  • Position the main loudspeakers to face away from the microphone. Monitor speakers should be positioned to aim toward the back side of the microphone.
  • With a supercardioid pickup pattern, best feedback rejection is actually obtained when the microphone is slightly OFF axis. That is, rather than positioning the monitor speaker to aim directly at the back of the microphone (180 degrees from the input side of the mic), you will have better feedback rejection at 130-170 degrees, slightly off to either side.
  • If you have a multi-band equalizer, push up each individual band one at a time by itself, noticing which bands tend to increase the feedback frequency. Then pull it back down to reduce or eliminate the feedback.
  • Turn down overall system volume. To increase the source volume to compensate for decreased system volume, speak of sing more closely to the microphone, even touching the grille if necessary.
If you still have a feedback problem, the next step is to adjust the sound processing program inside the microphone. Visit the Customize Your Mic and find your current program. Visit the Customize Your Mic and find your current program.
  • Raise the gate threshold one increment and try it again. Raising the gate higher will require speaking/singer more loudly (closer to the mic). If you raise it too high, the beginning of softer sounds may be blocked. (In particular “f”s tend to have lower energy and are likely to be blocked first.)
  • If raising the gate did not solve the problem (if you take it higher, softer material will be blocked, yet you still have feedback), try reducing the compression amount by raising its threshold. Raise the compressor threshold just one increment at a time until the problem goes away.

3. The sound cuts out on soft words, or breathy parts that I want to capture more fully.

On low volume parts or breath that you want to capture, make sure that you move close to the mic. If the problem persists, there are two things you can do.

  • Set the gate release time to "slow" rather than “fast.”
  • If the trouble persists, the next step is to decrease the gate threshold level. This will enable the microphone to "turn on" at a lower volume. Incrementally reduce the gate threshold one notch then try it out at the new level.
Note: For better protection against feedback, use as high a gate setting as possible (but not so high as to block any desired sounds).

4. Why do I have to take the mic apart to change settings?

By storing the settings inside the microphone handle, they are protected from accidental or unintentional changes. This is important because changes to the settings can radically affect the microphones performance. Also, the intention is to set the microphone to a pre-determined optimal level for your application (voice level and environment). Some call this "Set it and forget it" programming. Once properly set, no adjustment should be necessary. The compression curve of the Lampifier Microphone is very forgiving and can handle a wide range of input very effectively and beneficially.

5. What is your recommendation for the best live performance professional vocal application?

The Model 111PCV (ProConcert Vocal) is the best starting point and will work great in most vocal applications. If your voice and environment is not excessively soft or loud, this program will work well at the standard program settings. But you can customize as needed to adjust for weak/strong vocal projection and softer/louder sound environments.

If you anticipate a lower singing volume and lower sonic environments, try the Model 111RLS (Reggae/Latin/Soul) version. If you anticipate extremely hot signal environments and ear-splitting application, use the Model 111EV (Extreme Vocal). Remember, you can re-program your microphone. So if it's not quite right, reprogram it as needed.

6. What is your recommendation for the best podium/handheld microphone for speaking applications in auditoriums or lecture halls?

The Model 111SU (Stand Up or Public Announcements) will project nicely to the back of the room with its dynamic upper-midrange presence. The 711LD (Live Address) is another option which features the same compression/gating settings but gives a flatter midrange. Either mic will work fine. The difference is that the 111 offers a more solid and sharper midrange, which is generally deemed a plus in most vocal applications. And the 111 can operate at higher sound volume without feedback. The 711 gives a “bigger” low end and a little high frequency “sizzle.”

7. Why do you offer so many variants of the same microphone? It makes it hard to decide which one I should get!

Don't worry. There are really just two different microphones here: The Model 111 and Model 711. Choose between them based on which tonal response you prefer. All the program variations of each mic are adjustable, so if the pre-programmed model you get doesn't work perfectly right out of the box for your specific use, you can change the settings to suit. In most cases the pre-programmed settings will work fine, as they are somewhat forgiving.

8. Why does the Lampifier Microphone sound so much better than other mics I've ever heard?

All Lampifier Microphones have a built-in, adjustable processor that features a unique compressor and noise gate. The compressor evens up the sound source nicely, increasing intelligibility and articulation yet keeping the original intent of the dynamics within a smaller, more usable range. Furthermore, the compressor is ideal for vocals or instruments. You will find that its sonic quality is about the same as a high-cost rack-mount compressor.

The noise gate blocks unwanted sounds from coming through the mic at all when the main sound source becomes silent. This effectively turns the mic off when you are not speaking or singing into it, blocking low level feedback and off axis sounds completely.

If you are comparing a Lampifier microphone head to head against a similar quality professional microphone without sound processing (i.e., any other dynamic mic), the differences will be quite noticeable!

9. Why do I hear noise or cracking when I handle my Lampifier Microphone?

The cable connected to your microphone is defective or failing. Replace or repair it. Lampifier Microphones are phantom powered, so a good microphone cable and connection is required.

This is in fact a potential benefit as it helps identify a failing microphone cable before it stops working completely. And you don’t want the embarrassment of having your microphone cable stop working during a performance!

10. Do you have an artist program?

Yes. Please visit our Artist Cross-Promotion Endorsement Program page for more information.

11. At our church we have 8 microphones for organ speakers, choir, and piano. What changes in the current amplifier system would be required to get the best sound for vocalists, organ, and piano? We have a Q345 Allen Organ that has its own 6 speaker sound system. Could I experiment with our current sound system for comparison of sound from our old microphones?

You won't need to change your current amplifier system as long as your mixing console has phantom power. (Most mixing console do have it.) For testing purpose, we recommend you do an "A-B" comparison. Plug in a Lampifier microphone and your old microphone side-by-side. Use each mic while your "test audience" listens to the result.

Here are the mics we recommend for your applications:

For female vocal solo (and other general purpose use):
Lampifier Microphone Model 711 for Global Use
This is also a good choice for your Q345 organ.

For male vocal solo (and other general purpose use):
Lampifier Microphone Model 111 for Global Use

For piano:
Live Piano Lampifier Microphone Model 111 for Upright Piano or Grand Piano

For guitar amps (and keyboard amps):
Instrument Amplifier Lampifier Microphone Model 111 for Guitar Amplifier, Keyboard Amplifier, etc.

For choir:
Vocal Ensemble or Choir Lampifier Microphone Model 711

All these Lampifier microphones are programmable and re-programmable. You may never need to reprogram because the Lampifier audio processor self-adjusts to incoming sound, making program adjustments by the user generally unnecessary. But here are the instructions in case you do want to make a change:
Lampifier Microphones: Online Programming Tool

By the way, if your mixing console does not have phantom power, here is a external power supply that can provide phantom power to two Lampifier microphones:
Signal Flex Phantom Power Supply (Dual Unit)

12. Reading about the Model 111 it looks to me like a Shure Beta 58. The Model 711 looks like nothing I've seen before. Could you please enlighten if the sound is closer to any other mics already existing on the market?

Disregarding the internal processing for a moment, the 111 response is similar to 58 (not a Beta 58). It does not have an overemphasized high-end frequency response. But it does have a nice presence bump and a pleasant proximity effect like a 58. The result is a classic scooped response that so many people prefer. The 111 has a super-cardioid polar pattern so it is the better choice for a louder stage or recording environment. The 111 is an especially good choice when a vocalist wants to get in close to the mic.

One the other hand, the 711 has a flatter, broader frequency response and a cardioid polar pattern. This makes it the better choice for lower volume applications especially when a vocalist does not want to get up close the mic. To my ear, the 711 seems very nearly sonically transparent because it adds very little of its own character to the sound.

13. Cheers from under about 2 feet of snow!!! Really want to get a 111PCV Lampifier microphone for tracking vocals through my LINE6 UX1 interface, but the UX1 can only take a dynamic mic and it does not have phantom power. I am running the UX1 as an interface into my laptop audio program through a USB connection, and the UX1 has only one mic input. Do I need phantom power even though the Lampifier microphone is described as a dynamic microphone? If so, do I run the mic line into an external phantom power supply and then go from this into the UX1?

Even though the Lampifier microphones have dynamic capsules, they still need phantom power to operate the internal Lampifier processor. Since your UX1 does not have built-in phantom power, you can use a Signal Flex Phantom Power Supply (Dual Unit). It's an external device that goes in-line between your Lampifier microphone and the UX1 3-pin input. You'll need two mic cables for one Lampifier microphone. One cable is between the Signal Flex and the Lampifier microphone. The other cable is between the Signal Flex and the UX1 input. The Signal Flex is a dual-channel unit so it can power two Lampifier microphones. You'll need another input though, for two Lampifier microphones even if they both run through the same Signal Flex Phantom Power Supply.

14. I just received my new Lampifier microphone and pluged it into my mixer sound system, and there is no sound at all! This model doesn't have an on and off switch. How can I turn it on? Please help!

Please remember to turn on the phantom power on your mixer.

15. I received my 111 Lamifier Microphone today. When I open the package I could not find a microphone cable inside. Could you please let me know why? Thanks

Here is a list of microphone cables. They are sold separately.

10 Things You Need to Know About Lampifier Microphones:

  1. Lampifier Microphones are different than any other mic you have ever seen because they have a built in compressor/limiter and noise gate. This makes them the ideal live performance microphones.
  2. The Lampifier compressor/limiter enables you to keep the voice up in the mix. Softer phrases don’t get lost. Loud parts don’t unpleasantly peak. Tired of not hearing the vocals? Lampifier microphones help solve this problem.
  3. Lampifier microphones deliver a polished, professional sound and you don’t have to “work the mic” to keep the output even. You can just focus on one thing… the important most thing… your performance.
  4. A Lampifier mic enables you to hear yourself better, which means you can control your voice better. And better control means a better performance.
  5. The Lampifier mic makes the sound engineer’s job easier. By delivering a more even sound level, getting a good mix is easier.
  6. The Lampifier mic makes setup and soundcheck go faster. Since the mic is programmed to your own ideal compression and gating levels, it is the same everywhere you go. Just it plug in and play! No knobs to set or get accidentally bumped.
  7. The noise gate eliminates low level feedback. This means hotter gain before feedback. For loud environments the Lampifier mic is the ideal choice.
  8. The Lampifier mic is user programmable. If you want to tweak the compression or gate levels, simply go to the free online programming tool and follow the directions to adjust it as needed for your ideal sound.
  9. The Lampifier compressor is unique, delivering a high quality and transparent sound. First it is a warm and fully analog circuit. There is no DSP, no digital conversion noise, and no digital artifacts. Second, it works very differently. Unlike an ordinary compressor, which diminishes levels above a given threshold, the Lampifier compressor acts to retain the intended dynamics, but delivered within a reduced range. The result is increased clarity, articulation and evenness at all levels… soft and loud.
  10. Lampifier supports emerging artists with the Artist Cross-Promotion Endorsement Program. This is another first in the industry.


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