AKG C5 VOCAL Manual de usuario
C5
VOCAL
BEDIENUNGSANLEITUNG ..........S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
USER INSTRUCTIONS ...............p. 12
Please read the manual before using the equipment!
MODE D’EMPLOI .....................p. 22
Veuillez lire cette notice avant d’utiliser le système!
ISTRUZIONI PER L’USO .............p. 32
Prima di utilizzare l’apparecchio, leggere il manuale!
MODO DE EMPLEO ...................p. 42
¡Sirvase leer el manual antes de utilizar el equipo!
INSTRUÇÕES DE USO ...............p. 52
Favor leia este manual antes de usar o equipamento!
Page
1 Precaution / Description.....................................................13
1.1 Precaution...................................................................13
1.2 Unpacking...................................................................13
1.3 Optional Accesories....................................................13
1.4 Features ......................................................................13
1.5 Brief Description .........................................................14
2 Interfacing ...........................................................................15
3 Using Your Microphone ......................................................16
3.1 Introduction.................................................................16
3.2 Working Distance and Proximity Efffect ......................16
3.3 Angle of Incidence ......................................................16
3.4 Feedback ....................................................................17
3.5 Backing Vocals............................................................18
3.6 Installing the PB 1000 .................................................18
4 Cleaning...............................................................................19
4.1 Microphone Body .......................................................19
4.2 Internal Windscreen ....................................................19
5 Troubleshooting ..................................................................20
6 Specifications......................................................................21
12 AKGC5
Table of Contents
1.1 Precaution
1.2 Unpacking
1.3 Optional
Accessories
1.4 Features
Please make sure that the piece of equipment
your microphone will be connected to fulfills the
safety regulations in force in your country and is
fitted with a ground lead.
Check that the packaging contains all of the com-
ponents listed above. Should anything be miss-
ing, please contact your AKG dealer.
• For optional accessories, refer to the current
AKG catalog or folder, or visit www.akg.com.
Your dealer will be glad to help.
• Rugged condenser microphone for vocal mik-
ing on stage.
• Extremely resilient, spring-steel wire-mesh cap
for extra impact resistance.
• Built-in windscreen/pop filter for effective sup-
pression of pop and breath noise.
• Transducer shock mount reduces handling and
cable noise.
• Frequency-independent cardioid polar re-
sponse for high gain before feedback.
• PB 1000 Presence Boost attachment for opti-
mum intelligibility of speech.
1 Precaution / Description
AKGC5 13
1C5 1SA45 1 PB 1000
1micro-
phone bag
L
1.5 Brief
Description
The AKG C 5 is a vocal microphone for profes-
sional use on stage.
A frequency response tailored to vocal reproduc-
tion and a cardioid polar pattern provide a smooth
sound and high gain before feedback.
A rugged front grill made of spring-steel wire mesh
that is extremely resistant to deformation and a
sturdy zinc alloy die-cast body effectively protect
the microphone and transducer element from
damage on stage and on the road.
The outer steel wire mesh grille and a layer of a
special fabric form a very effective windscreen
against pop and breath noise and sibilance.
The supplied PB 1000 Presence Boost attach-
ment provides a boost of approx. 5 dB between
5 kHz and 9 kHz for optimum intelligibility of
speech.
1 Description
14 AKGC5
The C 5 is a condenser microphone and therefore
needs a power supply.
The microphone provides a balanced output on a
3-pin male XLR connector:
Pin 1: ground
Pin2:hot
Pin3:return
1. Use an XLR cable to connect the microphone
to a balanced XLR input with phantom power.
2. Switch the phantom power on. (Refer to the
manual of the unit to which you connected
your microphone.)
2 Interfacing
AKGC5 15
3.1 Introduction
3.2 Working
Distance and
Proximity Effect
3.3 Angle of
Incidence
Refer to fig. 1.
Fig. 1: Typical mi-
crophone position.
A handheld vocal microphone provides many
ways of shaping the sound of your voice as it is
heard over the sound system.
The following sections contain useful hints on how
to use your microphone for best results.
Basically, your voice will sound the bigger and
mellower, the closer you hold the microphone to
your lips. Moving away from the microphone will
produce a more reverberant, more distant sound
as the microphone will pick more of the room’s re-
verberation.
You can use this effect to make your voice sound
aggressive, neutral, insinuating, etc. simply by
changing your working distance.
Proximity effect is a more or less dramatic boost
of low frequencies that occurs when you sing into
the microphone from less than 2 inches. It gives
more "body" to your voice and an intimate, bass-
heavy sound.
Sing to one side of the
microphone or above
and across the micro-
phone’s top. This pro-
vides a well-balanced,
natural sound.
If you sing directly into
the microphone, it will
not only pick up exces-
sive breath noise but
also overemphasize "sss", "sh", "tch", "p", and "t"
sounds.
3 Using Your Microphone
16 AKGC5
3.4 Feedback
Fig. 2: Microphone
placement for
maximum gain
before feedback.
Refer to fig. 2.
The term “feedback” means that part of the sound
projected by a speaker is picked up by a micro-
phone, fed back to the amplifier, and projected
again by the speaker. Above a specific volume or
"system gain" setting the sound system will start
howling and the sound engineer will desperately
dive for the master fader to reduce the volume and
stop the howling.
To increase usable gain before feedback, the mi-
crophone has a cardioid polar pattern. It is most
sensitive to sounds arriving from in front of it (your
voice) while picking up much less of sounds arriv-
ing from the sides or rear (from monitor speakers
for instance).
To maximize gain before feedback, place the main
("FOH") speakers in front of the microphones
(along the front edge of the stage).
If you use monitor speakers, be sure never to point
any microphone directly at a monitor or FOH
speaker.
Feedback may also be triggered by resonances
depending on the acoustics of the room or hall.
3 Using Your Microphone
AKGC5 17
3.5 Backing
Vocals
Fig. 3: Two
vocalists sharing a
microphone.
3.6 Installing
the PB 1000
Fig. 4: Microphone
capsule without (a)
and with (b) PB 1000.
Important!
With resonances at low frequencies, proximity ef-
fect may cause feedback. In this case, it is often
enough to move away from the microphone a little
to stop the feedback.
1. Never let more than
two persons share a
microphone.
2. The microphone is
very insensitive to off-
axis sounds. If the
two vocalists were to
sing into the micro-
phone from an angle
wider than 35 de-
grees, you mayend up bringing up the fader of
the microphone channel far enough to create a
feedback problem.
1. Unscrew and remove the wire mesh cap.
2. Slip the PB 1000 on the microphone capsule to
the stop, slightly turning the attachment as you
push it home.
• When installing or removing the PB 1000,
make sure to grip the capsule and shock
mount firmly with your thumb and forefinger
in order to prevent the capsule being sev-
ered from the shock mount.
3 Using Your Microphone
18 AKG C 5
ab
4.1 Microphone
Body
4.2 Internal
Windscreen
• To clean the surface of the microphone body,
use a soft cloth moistened with water.
1. Unscrew the front grill from the microphone
CCW.
2. Remove the windscreen from the from grill and
wash the windscreen in soap suds.
3. Allow the windscreen to dry overnight.
4. Replace the windscreen in the front grill and
screw the front grill on the microphone CW.
4 Cleaning
AKGC5 19
5 Troubleshooting
20 AKGC5
Problem Possible Cause Remedy
No sound.
1. Power to mixer
and/or amplifier is off.
2. Channel or master
fader on mixer, or vol-
ume control on ampli-
fier is at zero.
3. Microphone is not
connected to mixer or
amplifier.
4. Cable connectors are
seated loosely.
5. Cable is defective.
6. No supply voltage.
1. Switch power to
mixer or amplifier on.
2. Set channel or master
fader on mixer or vol-
ume control on ampli-
fier to desired level.
3. Connect microphone
to mixer or amplifier.
4. Check cable connec-
tors for secure seat.
5. Check cable and re-
place if damaged.
6. Switch phantom
power on.
Check cable and re-
place if necessary.
Distortion.
1. Gain control on mixer
or transmitter module
not set correctly.
2. Mixer input sensitivity
too high.
1. Set gain control to
stop distortion.
2. Insert 10 dB preatten-
uation pad between
microphone cable
and input.
Microphone sound be-
comes duller
by and by.
• Internal or external
windscreen attenu-
ates high frequencies
when soiled.
• Clean internal or ex-
ternal windscreen.
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