The Crown GLM-100 or "Great Little Mic" offers all the quality and
wide-range response of larger studio microphones, yet is nearly
invisible in use. It can be attached to instruments or performers, or
hung over musical ensembles. No mike stands are needed, which makes
set-up fast and easy.
The GLM-100 has an omnidirectional or all-around pickup pattern. When
placed in the center of a group of instruments (say, a drum set), it
picks up all the instruments surrounding it.
Unlike larger microphones, the GLM-100 picks up all surrounding
instruments with the same tone quality or frequency response. That is
because the microphone is very small and maintains its omni polar
pattern up to high audio frequencies.
The GLM-100 eliminates "proximity effect" or bass boost when used up
close. Its frequency response stays constant with miking distance.
The included accessories let you mount the GLM in any desired position. Since the GLM is small, it can be mounted very close to instruments to improve isolation and reject off-mike sounds.
For outdoor or vocal use, place the included windscreen on the microphone to reduce wind noise and breath popping.
Although the cable is rugged, excessive abuse such as tugging and twisting will shorten its life. It should last indefinitely if treated with care. The cable has been kept short (8 feet) to allow easy wrapping and to reduce the amount of thin cable on stage.
Here are some suggested starting placements for the GLM-100. Experiment to find a position that pleases your ears.
Acoustic guitar (recording) -- Use the double-sided tape to attach the GLM to the guitar. Put the tape on the side marked "FRONT," taking care not to cover the sound entry hole. When the GLM-UIM (Universal Instrument Mount) is available, simply tape the mount to the guitar using the supplied double-sided tape, and insert the GLM face-down in the mount.
Tape the mic between the sound hole and the bridge near the low E string, or under the strings. The front of the mic should aim at the guitar body.
Acoustic guitar (sound reinforcement) -- Tape the mic inside the guitar onto the surface nearest the performer (face down), so that the mic can see the sound hole. Equalize for the desired tone quality.
Drums (several microphones) -- For each drum in a drum set, tape the cable to a drum rim so the mic can see the drum head. Or clip the mic holder to the rim to hold the microphone. Take care to keep the mics out of the drummer's way. The cymbals will be picked up from underneath by the tom-tom mics.
Damp the kick-drum head with a pillow or blanket. About 2 feet from the mic capsule, bend the cable into a V. Insert the point of the V through the vent hole on top of the kick drum (from the inside). Tie a knot in the cable outside the vent hole so that the cable doesn't fall through. Hang the mic capsule a few inches from the beater, inside the kick drum.
For extra isolation, tape each tom-tom mic inside the shell near the end opposite the head. This placement greatly reduces cymbal leakage, so you may need to mike the cymbals separately. If so, position one or more GLMs about one foot over the edges of the cymbals, using microphone stands.
Drums (three microphones) -- Tape or clip one GLM near the left rack tom and the snare drum. Aim the front of the mic at the hi-hat for best high-frequency reproduction. This GLM picks up the hi hat, snare, left rack tom, and cymbals. Tape or clip another GLM near the right rack tom and the floor toms. This GLM picks up the right rack tom, floor tom, and cymbals. Experiment with placement to achieve a good balance. You may want to boost the bass slightly. Put another GLM in the kick drum.
Drums (two microphones) -- Clip one GLM to the snare-drum rim, and position the mic in the center of the set. With a little bass and treble boost, the sound is surprisingly good for such a simple pickup. Put another GLM in the kick drum.
Flute -- Using tape or a rubber band, attach the GLM cable 4 inches to the left of the lip plate (looking at the player), with the mic capsule 1 1/2 inches above the flute. For extra gain before feedback, tape the cable to the end of the flute nearest the lip plate, so that the mic can "see" the lips. Roll off the excess highs on your mixer.
Sax, brass -- For a bright tone quality, clip the mic holder onto the bell, and position the mic a few inches in front of the center of the bell. For a mellow tone quality, tape the mic to the inside of the bell, a few inches in. The sax may sound best when miked near the tone holes. To do this, attach the mic clip to the bell (or to sax hardware) and place the GLM near the tone holes.
Woodwinds -- Attach the mic clip to the bell, and position the GLM to pick up both the bell and the tone holes.
String bass -- For a full, deep tone, tape the GLM near an f-hole. For a more-defined sound, tape the cable to the bridge or tailpiece.
Guitar amp -- Tape the cable to the grille cloth in front of a speaker cone. A mic placement at the center of the cone sounds bright; a placement near the edge of the cone sounds more mellow.
Grand piano -- Raise the lid. Using the double-sided tape, attach the GLM inside the audience side of the piano so the mic can see the strings. Use two for stereo.
Grand piano -- Using the double-sided tape, attach the GLM to the underside of the raised lid in the middle. Aim the front of the microphone at the lid. Use two for stereo. If you need more isolation, close the lid.
Upright piano -- Remove the kick board in front of the piano to expose the strings. Tape the GLM cable under the keyboard so that the GLM is near the strings. Use one near the bass strings and one near the treble strings.
Upright piano -- Using the double-sided tape, attach the GLM to the sound board. Experiment with position for best sound.
Violin or banjo -- Attach the mic clip to the tailpiece. Place the GLM a few inches from the banjo head or violin f- hole. Experiment with miking distance to get a good compromise between tone quality and isolation.
Harp -- Using the double-sided tape, attach the mic to the sound board.
Orchestra, band, choir, organ -- For recording, hang two or three mics overhead, about 5 to 10 feet apart, about 14 feet above the floor, and 5 to 10 feet in front of the front-row musicians. You may want to roll off the high frequencies slightly for a more natural sound.
For sound reinforcement, mike each section separately a few feet away. Keep in mind the 3:1 rule to prevent phase interference: The distance between microphones should be at least three times the distance from each microphone to its sound source.
Film or video -- Attach the GLM to the back of props close to the action. In an automobile, clip it to the sun visor near the center-line of the automobile. To reduce clothing noise when the GLM is used on an actor, spray clothing with Static Guard or water (spray leather with silicon spray or WD-40). Tape both sides of the cable to clothing, using band-aids on skin. M
