Crown SASS-P MK II Stereo PZM Microphone
Featuring a unique, patented design, the SASS-P MK II Stereo PZM Microphone represents the pinnacle of the PZM technology at Crown. With its carefully controlled polar patterns and accurate human-ear spacing between its capsules, it produces a well-focused, natural stereo image without a "hole in the middle." The microphone is ideal for recording classical music ensembles, pipe organ, ambience, and audience reaction in stereo. It also works beautifully for miking a drum set overhead.
The SASS-P MK II features a wide frequency response, ease of use, and low pickup of mechnical noise and wind noise. Included with the SASS-P MK II is a sturdy foam-lined carrying case, hand grip, mic-stand thread adapter, and windscreen.
The Crown SASS-P MK II Stereo Ambient Sampling System™ is a patented, stereo condenser microphone using PZM technology. It is a mono-compatible, near-coincident array designed for professional applications including:
- classical-music recording (acoustic ensembles)
- stereo electronic news gathering (E.N.G.)
- sports ambience and crowd reaction
- recording worship services
- televised theatre and dance
- film ambience
- stereo sampling for keyboards
- stereo sound effects
- recording studios and live sound
Compared to its predecessor the SASS-P, the SASS-P MK II provides a warmer, smoother sound with more high-frequency brilliance (“air”) and less midrange “hardness.” A patented design, the SASS uses a premium-quality Pressure Zone Microphone for each channel. The PZMs are mounted on boundaries (with a foam barrier between them) to make each microphone directional.
The carefully controlled polar patterns and human-head-sized spacing between capsules create extremely well-focused, natural stereo imaging with no “hole in the middle.” Overall, the reproduction of the sound field is precise and realistic.
The SASS can accurately convey the ambient environment for location recording film-wide sound, or synched audio ambience (movement of traffic) where movement heard must precisely match movements in the screen image.
A foam barrier/baffle between the capsules shapes the pickup angle of each capsule in the front, and limits overlap of the two sides at higher frequencies. Although the mic capsules are spaced a few centimeters apart, there is little phase cancellation when both channels are combined to mono because of the shadowing effect of the baffle.
The SASS can be powered in the field by two 9V batteries, as well as 12-48V phantom power. Separate left and right outputs are lowimpedance balanced.
- Type: Stereo condenser.
- Element: Electret condenser Pressure Zone Micropohone.
- Frequency response (typical): 20 Hz to 18,000 Hz in a reverberant field.
- Polar pattern (each channel): Omnidirectional at low frequencies, unidirectional at high frequencies.
- Impedance: 150 ohms rated (240 ohms actual), balanced. Recommended minimum load impedance 1000 ohms.
- Open-circuit sensitivity: 6.0 mV/Pa* (–44.5 dB re 1 volt/Pa*).
- Power sensitivity: –44 dB re 1 mW/Pa*. –136 dB EIA.
- Equivalent noise level: 20.5 dB SPL typical (0 dB=.0002 dyne/cm2), A-weighted.
- S/N rati 73.5 dB at 94 dB SPL.
- Maximum SPL: 150 dB SPL at the diaphragm produces 3% THD.
- Polarity: Positive pressure on the diaphragm produces a positive voltage on pin 2 with respect to pin 3 of the output connector.
- Operating voltage: Standard phantom power, 12 to 48 volts DC, positive voltage on pins 2 and 3 with respect to pin 1 of the output connector. Or two 9 V alkaline batteries (Mallory Duracell MN1604 or equivalent).
- Current drain: 1.1 mA per channel.
- Material: Molded high-impact plastic.
- Finish: Satin black and charcoal grey.
- Cable: None supplied; use 2-conductor shielded mic cables.
- Connectors: 3-pin professional audio connector (one per channel).
- Switch: Phantom/flat, phantom/low-cut, battery/ flat, battery/low-cut. Battery off in phantom pos