Frequently Asked Questions

Yes. New for 2018, we are introducing our new RGB control devices. replacing the TS001 will be, the TS003. The CH32 will also be upgraded to RGB to become the TS005. All of our integrated touch switches in microphones models, like the CS*S-RF series or the CRM 20*S-RF series, housing the TS002, will now be fitted with the TS004 RGB touch switch.

All Clockaudio control devices being upgraded with the color Blue, will now offer the possibility for 8 statuses, right out of the box (Off, Blue, Red, Green, Blue & Red, Blue & Green, Red & Green, and White (all on)). Essentially, with a PWM driver circuitry, you will be able to adjust the brightness of every color by 1/256th increments, making it possible to create any color in the spectrum.

Today’s young, trend-setting workforce is inspired and driven by changes and new tendencies. Tomorrow’s CEOs might prefer to see their own corporate colors on their control devices instead of the standard “Red for Muted” and “Green for On”. Or the touch switch could be programmed with different “modes”, like a GUI page, and easily identified with the use of different colors. Needles to say, the possibilities are endless.

With the right planning, and programming, an installation can make the user experience that much more intuitive and pleasant.

Not recommended. The CRM102-RF and the rest of the CRM line are fitted with a magnetic reed switch designed to be used for remote switching at the beginning and end of each session when the microphones are no longer in use. The magnetic reed switch in the CRM line was not designed to be used for privacy muting. If used as a privacy mute, the far end would hear the mechanics of the microphone pushing in before the magnetic reed switch would have time to signal the DSP to mute. Privacy muting can be achieved by using a separate TS001 button with your DSP of choice to mute electronically..

The 3 leg Bi-colour LED we use have a common anode (+) for both colours. The colour can be changed by grounding the red lead (for red LED) or green lead (for green LED)..

PPA-RF is an RF Immune Phantom Power Adaptor with an XLR termination. The PPA-RF outputs Microphone level signal. CPPW01-RF is an RF Immune Phantom Power Adaptor Box with terminal strips inside. The CPPW01-RF outputs Microphone level signal. CAP002 is a Line Level pre-amp Box with terminal strips. The CAP002 outputs line level signal and requires a separate 12-24V DC power supply. However, it can also be modified to output mic level signal and connect to Phantom Power.

Q. What does the AB 9000 do? Q. Which cable do you recommend for connecting the AB9000 with the CW9000 Receiver? Q. What is the maximum cable length between the Antenna AB9000 and the antenna port of the CW 9000 receiver?

A. The Clockaudio AB-9000 Antenna Booster easily attaches via a BNC antenna cable connection to any UHF wireless receiver. The AB -9000 provides +10 db of signal boost to compensate for the loss of signal when remote antennas are used with long cable runs, and improves the Signal to Noise ratio, increasing the operating distance. * Steel housing to help prevent outside RF interference. * Versatile design allows either wall mounting or mic stand mounting * Frequency Range: UHF 470 -870 MHz * For cable runs use RG 58 cable with BNC connectors.

The best practice will always be, one microphone per person. However, one microphone for two people proves to be very adequate and most efficient. Ideal positioning would be 24 inches from the edge of the table between the two participants, so that both sources are at the same distance from the microphone. Also, the other big advantage here is, when a participant opens a laptop in front of them, it will not obstruct the microphone pickup pattern.

Although it is primarily used to signal status of the microphone (muted/unmuted), the LED on all our switch plates and Microphones have the possibility to signal statuses other than muting. For example, you might want to alert the speaker that the camera is zoomed in on him/her by turning on the LED on the microphone and/or switch plate. Depending on your programmer’s skills, you can assign the LED to any feedback your system can provide.

Once hooked into a control system or a DSP, that button can be programmed to do whatever is required for the application. So, “yes” it can mute all the microphones on the table if programmed accordingly, but it is not limited to that function only. It is called a “mute” button because it is generally used for that purpose, but can be assigned to any function of the automation system.

There is no difference, the v02 model is now called the CH32.

The LB001 is a great solution when you do not have a DSP, and you want to mute the microphone locally using a Clockaudio control device such as (CH32, TS001, S80S…).

For touch button and Bi-colour LED enabled Devices. (CH32, TS001, CS1S-RF, CS2S-RF, CS3S-RF, CS4S-RF, SM80S, S80S, CRM202S-RF):

Cable Colour Function RJ 45 Pin Number
Red Red LED Pin 2
Blue -ve Switch Pin 3
Brown +ve 12 DC Switch Pin 4
Yellow Switch Logic control Pin 5
Green Green LED Pin 6

Yes you can, it requires that you install resistors on the ground leads of the Green and Red LEDs.
For example: a 1K Ohm resistor would dim the LEDs (on a CH32) at 30%, and a 390 Ohms resistor will dim the LEDs at 50%.

Making the microphones rise by group or pre-sets of groups?
Yes! The CDT100s have an IP address and can be accessed by the control system individually, thus controlling the ARMC separately.
You can then control the ARM microphones by groups of four, activating only what is needed for each meeting.

The CDT100 combines all audio signals and control data and sends it to a network switch over a single Cat5e cable instead of 4 x audio cables and 4 x control cable, significantly reducing the amount of wiring and time to run all those cables. You can also daisy chain 6 CDT100s on the same line using only one PSU1205 power supply to power the control devices and their LEDs on all 6 transporters. A total of 24 microphones and 24 control devices going from the table to the equipment rack on one single network cable.
Please refer to the White paper of the unit for a break down of the savings at this link CDT White Paper.

No, the CCRM4000 comes with either a single element hanging microphone, much like our C3S model, or the C303W-RF only. The single element is hard-wired into the motor assembly and cannot be removed or swapped.
As for the CCRM4000/C303 model, the microphone head can be disconnected from the TA5F connector for installation and service, but not replaced by a different microphone.

DC power requires heavier gauge cable for longer runs.
Ultimately, the power supply for control devices, such as CH32, S80S, SM80S, TS001 or any Clockaudio microphone equipped with the TS002 touch switch, should be installed in close proximity of the touch switches, under the table.
Longer cable runs would require too heavy of a gauge of wire for powering the devices from farther away.

The CDT100 is equipped with an RJ12 port specifically for that purpose. The ARM-C hooks-up to the RJ12 port and the logic ‘High’ needed to command the ARM-C to rise the microphones, is generated from the CDT100’s ‘ARM-C’ port.
Essentially, if wired accordingly, this port can also be used to deploy and retract the CCRM4000 ceiling microphones.

Yes, we now have a plenum option for the CCRM-4000 and CCRM-4000 C303W-RF and we will be showcasing it at InfoComm 2016 in June in Las Vegas, Nevada.

The CDT-100 provides a cost effective means of transporting audio and control using a single Cat 5/6 cable. One PSU not only can power up to 6 CDT-100, but handles as well power requirements for all control devices.

YES! Our retractable motorized ceiling microphone is now available with the 3 element microphone, the C303W-RF. The CCRM4000M/C303 and CCRM4000SL/C303 is ready to ship.

Every CRM has a magnetic REED switch that is meant be connected to the DSP/control system as an input device to “tell” the control system if the microphone is in the up or down position and make sure it is never unmuted while retracted in the table.

The C303W-RF features three overlapping cardioid patterns that provides a 360° coverage. The combined elements are aimed down and outwards, giving excellent upward sound rejection, significantly reducing unwanted HVAC, projector noises or sound from the ceiling speakers.

The power supply to use depends exactly on how many switches are connected to it. Each LED ring (Red & Green) uses approximately 30 to 40mA each in models: TS001, CH32 and the TS002 used in the CRM200S-RF, CRM202S-RF and CRM203S-RF and the SC*S series microphones.
The SM80S (RF) Shock mounts and S80S Mic mounts/switch plates use only one LED, their power consumption is approximately 10 to 15mA.

e.g.: If you have 2 x CS3S-RFs and 3 x CS2S-RF on a table, that is a total of 5 touch switches.

If you were to use both green and red LED rings together to show a third status, 60-80mA (Maximum consumption) X 5 switches = 300-400mA.

Good practice also dictates to double this value so you are not running your PSU at maximum capacity all the time. You would need a power supply of 1000 mA.

Not recommended:

First, the ARM-C is designed to be installed near the motorized microphones, thus eliminating the amount of cables from the rack to the table and make the installation simpler.

Second, a long run of Cat5e would not necessarily be able to carry the amperage through to the ARM microphones motors.

From an equipment rack to the table there is at least 40 feet of cable, if not more. The 22AWG of the cat5e cable is not be capable of carrying the necessary currant to run the motors due to the resistance of such a gauge of wire at that length.

Yes you do, the Phantom Power Adapter reduces and regulates the voltage to an adequate level for the condenser capsule of the microphone.

Applying phantom power directly to the mic without it can damage the element considerably.

CPPW01-RF is an RF Immune Phantom Power Adaptor Box with terminal strips inside. It outputs Microphone level signal. There is also a non RF CPPW01 for non RF immune microphones.

And finally, theCAP002 is primarily a Line Level pre-amp Box with terminal strips. The CAP002 outputs line level signal and requires a separate 12-24V DC power supply. However, it can also be modified to do the same as the CPPW01.

The CRM or ARM202-RF are through table microphones that house two separate condenser elements, positioned 180 degrees from each other.

Both elements have a cardioid polar pattern, each covering 130 degrees.

If placed centered in the width of the table, it can pick up 2 participants on each side of a table as wide as 6 feet.

I think we would be fooling ourselves if we did not include aesthetics as an important criteria in the conference room. Of course audio performance should still be priority, but nonetheless, looks and image are a major factor in today’s world. This obviously will also influence the decision between gooseneck and boundary layer microphone. The important issue here is to keep things in perspective and avoid tipping the scale completely on one side, to the detriment of the other. Different types, lengths, profiles and color options are available off the shelf or can be created as a custom product. This makes balance between aesthetics and performance usually not too difficult to achieve. Please contact Clockaudio for more information.

Acoustics. In studio, microphone placement and acoustical environment play a big role in the sound quality of the recording. The same is also true for the conference room. Though the sound in this case is not actually being recorded, how we deal with the room itself will greatly affect the end result. Sound reflecting surfaces such as glass walls, ceramic floors, plaster ceilings or any hard material, can cause what we call reflected sound. The ultimate goal is always to have a stronger direct sound level, than the reflected sound. If possible closer positioning of the microphone to the source can really help this situation. Another alternative would be to treat the reflective surface, but this solution can incur additional costs that may or may not be feasible for the customer. A boundary layer microphone could also provide a good answer to this problem, because of its inherent properties.

The cardioid pattern is somewhat spherical and rejects sound from behind. When placing a cardioid boundary microphone on a table-top, the pattern is cut in half by the table and becomes a half cardioid.

Both types of microphones are well versed for conference room applications. Many variations of both types are available to accommodate the specific needs of the customer. Over the last 10 years we have definitely seen a trend calling for a lower profile microphone on the boardroom table.

Boundary layer microphones certainly meet the criteria for today’s conference room. Small and inconspicuous, they are usually placed 15 to 36 inches (400 to 915mm) away from the participant. Because the microphone element is in such close proximity to the table surface, phase cancellation problems are virtually eliminated. This is the result of direct and reflected sound reaching the capsule almost simultaneously. Some boundary layers even have multiple elements. This scenario not only minimizes the number of microphones on the conference table, but also involves less labor, without sacrificing audio performance.

Gooseneck microphones are still very popular in boardrooms. Offered in different patterns, lengths and sizes, they are often selected when gain before feedback is a major issue. Because of their reach, they can bring the microphone capsule much closer to the source and therefore increase the intelligibility in difficult situations. Another good example would be lap top computers. If you open a laptop and block the boundary layer microphone, there goes most of your pick up. A gooseneck microphone with a longer shaft length would probably be more appropriate in this situation.

The bottom line is that both microphones are very good choices. Final decision should be based on the particular application, the environment, the end user requirements and also aesthetics.

Well the rule of thumb is one or two people. A cardioid polar pattern gives you an acceptance angle of approximately 130 degrees. Of course using one microphone for one person is perfect. When using one microphone in the middle of two people, both participants are off axis from the center of the microphone, but at the same angle and distance. This means that both participants will have pretty much the same level.

If you are using one microphone for three people, the person in the middle will be straight on axis with the microphone, and therefore gain 3-6db more in sensitivity as opposed to the people off axis on each side.

Ultimately, this means the person in the middle will always be louder, and since that microphone is connected to one input on the DSP, there is no sensitivity adjustment possible.

Shock mounts are definitely very important to look at when designing a proper conference system. Like it or not, table noise is usually a major issue in the boardroom. The goal of the shock mount is to attenuate and eliminate the transmission of such sounds through the PA system. From your basic rubber shock mount for through table boundary layer microphones, to the more sophisticated table pocket shock mount, many options are available. Again in this situation, one needs do determine the level of shock mount required relative to the application.