Klaus Heyne,
Diaphragm Tunning method - "You Ping it"
from:
https://www.prosoundweb.com/interview-klaus-heyne-master-of-microphone-modifications/5/______________________________________________________________________________________
KH: Then I fine-tune the capsule, physically yank it out and using a torque screwdriver, adjust the distance from the diaphragm to the backplate and maybe even adjust the two backplates together. There are basically four parts to this sandwich: diaphragm, backplate, backplate, diaphragm. How these are put together determines midrange behavior, and also determines high and low frequency behavior.
So you have, within a certain range, some tolerance for discretionary adjustment. I can either tighten or slacken a little bit. Or I may take a diaphragm off and try another diaphragm, one with a different resonance frequency. I know from experience how a certain resonance frequency translates into upper midrange behavior.
BB: How do you know what that resonance frequency is?
KH: Very simple. I ping it. And I use a tuning fork. So if it sounds forward in the upper mids, and the resonance of the diaphragm is in the region of D sharp or E, I would say I could not do what I need to do by torquing the screws. I will need another diaphragm.
BB: That’s surprising! How broad is the range of resonance frequencies?
KH: It can be six or seven half tones, quite a bit. And you can’t control it much better than that. All of these go into ovens, that’s how they tension them. There’s still so much art, so much luck, in diaphragm manufacture. To a “t”, almost every capsule mimics something Neumann did in the late fifties. Look at any German or Chinese microphone, and you will find they all use the same basic principle.
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