AKG D 11 Manual de usuario
Bedienungshinweise . . . . . . . . . . . . . . . S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
User Instructions . . . . . . . . . . . . . . . . . p. 10
Please read the manual before using the equipment!
Mode d’emploi . . . . . . . . . . . . . . . . . . . p. 18
Veuillez lire cette notice avant d’utiliser le système!
Istruzioni per l’uso . . . . . . . . . . . . . . . . p. 26
Prima di utilizzare l’apparecchio, leggere il manuale!
Modo de empleo . . . . . . . . . . . . . . . . . p. 34
Antes de utilizar el equipo, sírvase leer el manual!
Instruções de uso . . . . . . . . . . . . . . . . p. 42
Favor leia este manual antes de usar o equipamen
to!
CCS SERIES
10
1.1 Optional
Accessories
(D 11, D 22 only)
•Dynamic instrument microphone
•Cardioid polar pattern
•16-ft. (5-m) balanced XLR/XLR cable
•Rugged clear-plastic carrying case
•For kick drum, bass amps, wind instruments
•Dynamic instrument microphone
•Cardioid polar pattern
•16-ft. (5-m) balanced XLR/XLR cable
•H440 bracket
•Rugged clear-plastic carrying case
•For toms, percussion, guitar amps, wind
instruments
•Dynamic instrument microphone with on/off
switch
•Cardioid polar pattern
•16-ft. (5-m) cable: XLR/XLR (D 77 S/XLR) or
XLR/1/4” jack (D 77 S/Jack)
•SA 44 stand adapter
•Rugged clear-plastic carrying case
•For instruments and backing vocals
•Dynamic vocal microphone with on/off switch
•Cardioid polar pattern
•16-ft. (5-m) cable: XLR/XLR (D 77 S/XLR) or
XLR/1/4” jack (D 77 S/Jack)
•SA 44 stand adapter
•Rugged clear-plastic carrying case
•For solo vocals
•MK 9/10 microphone cable: 10 m (30 ft.) 2-
conductor shielded cable with 3-pin male
and 3-contact female XLR connectors
•ST 102A, ST 200 floor stands
•ST 1, ST 12, ST 45 table stands
•W 880 windscreen
1 Description
D 11
D 22
D 77 S
D 88 S
11
2 Using Your Microphone
2.1 Precaution
2.2 Connecting
the Microphone
Refer to fig. 1.
Refer to fig. 2.
2.3 Switching
the Microphone
on/off (D 77 S,
D 88 S)
Refer to fig. 3.
Note:
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.
D 11, D 22, D 77 S/XLR, D 88 S/XLR
Use the supplied balanced cable to connect the
microphone to the desired XLR input.
D 77 S/Jack, D 88 S/Jack
Use the supplied unbalanced cable to connect
the microphone to the desired 1/4” input jack.
Please note that unbalanced cables may pick up
interference from stray magnetic fields near power
or lighting cables, electric motors, etc. like an
antenna. This may cause hum or similar noise when
you use a cable that is longer than 16 feet (5 m).
1. To switch the microphone on, slide the on/off
switch toward the front grill (”ON” position).
2. To switch the microphone off, slide the on/off
switch toward the microphone cable (”OFF”
position).
To prevent unwanted bursts of noise, be sure
to switch the microphone off before connect-
ing or disconnecting the microphone cable.
ENGLISH
12
2 Using Your Microphone
2.4 Positioning
the Microphone
for Instruments
2.4.1 Flute
Refer to fig. 4.
2.4.2 Saxophone
Refer to fig. 5.
2.4.3 Harmonica
Refer to fig. 6.
2.4.4 Trumpet,
Tuba, Trombone
Refer to figs. 7, 8, 9.
The following sections contain suggestions for
placing the microphone optimally for a number of
instruments.
Please note that moving the microphone closer to
the instrument will boost the bass range. (This is
known as “proximity effect”.)
Microphone: D 77 S
Working distance
Jazz/pop: 1 to 2 inches. Blow a little below the
microphone to avoid overemphasizing blow-
ing and breathing noise.
Classical music: 4 to 8 inches above the instru-
ment.
Microphones: D 22, D 77 S
Working distance
0 to 2 inches: The microphone will pick up the bell
sound only.
2 to 8 inches: The microphone will pick up both
the bell sound and the sound radiated from
the keys.
Microphone: D 77 S
Working distance: ”zero” - clamp the micro-
phone between your hands. You will get a very
direct sound that you can ”shape” with your
hands.
Microphone: D 22 (trumpet), D 11 (tuba and
trombone)
Working distance
0 to 2 inches: The microphone will pick up the bell
sound only.
2 to 8 inches: The microphone will pick up both
the bell sound and the sound radiated from
the body.
13
2 Using Your Microphone
2.4.5 Guitar
Amplifier
Refer to fig. 10.
2.4.6 Bass
Amplifier
Refer to fig. 11.
2.4.7 Kick Drum
Refer to fig. 12.
2.4.8 Toms,
Snare,
Percussions
Refer to figs. 13
and 14.
2.4.9 Mounting
the D 22 on a
Drum
Refer to fig. 15.
Microphone: D 22
Working distance: 0 to 2 inches. Aim the micro-
phone at a point between the center and the
perimeter of (one of) the speaker diaphragm(s).
Microphone: D 11
Working distance
Bass amp with single speaker: 2 inches. Aim the
microphone at a point between the center and
the perimeter of the speaker diaphragm.
Bass amp with woofer and tweeter: 4 to 6 inches.
Aim the microphone at a point halfway
between the woofer and tweeter.
Microphone: D 11
Working distance: Aim the microphone at the
point where the beater hits the skin.
The sound will be the drier and harder, the
closer the microphone sits to the head. Work-
ing distances around 1 inch provide the
famous “click”.
If you prefer a rounder sound aim the micro-
phone at a point between the center and the
perimeter of the head.
Microphones: D 22, D 77 S
Working distance: 1/2 to 1 1/2 inches away from
the top skin.
1. Screw the supplied H 440 bracket to the stand
adapter on the microphone using the captive
knurled-head screw on the H 440 bracket.
2. Engage the top groove of the H 440 bracket in
the top hoop from above.
3. Engage the lower arm of the H 440 bracket in
the underside of the top hoop.
ENGLISH
14
2 Using Your Microphone
2.5 Vocals
(D 77 S, D 88 S)
2.5.1 Working
Distance and
Proximity Effect
2.5.2 Angle of
Incidence
Refer to fig. 16.
2.5.3 Feedback
Refer to fig. 17.
Preventing
feedback
4. Align the microphone with the perimeter of the
top head.
The closer you hold the microphone to your lips,
the louder and darker your voice will sound. As
you move away from the microphone, your voice
will sound quieter and brighter.
If you hold the microphone closer than 2 inches
to your lips, the proximity effect, an inherent
property of any unidirectional microphone, will
sharply boost the low frequencies.
Sing to one side of the microphone or above and
across the microphone’s top. This provides a
well-balanced, natural sound.
If you sing directly into the microphone, it will not
only pick up excessive breath noise but also
overemphasize “sss”, “sh”, “tch”, “p”, and “t”
sounds.
Part of the sound projected by the speakers will
be picked up by the microphone, amplified, and
fed back to the speakers. Above a certain volume
level, this ”vicious circle” causes the sound sys-
tem to howl and whistle.
•Never point your microphones directly at mon-
itor or PA speakers.
•Place your monitor speakers where the micro-
phone sensitivity is at a minimum.
With the D 88 S supercardioid microphone,
these areas are behind and to the sides of the
microphone. With the D 77 S cardioid, the
minimum sensitivity area is right behind the
microphone.
•Be sure to hold the microphone by the shaft
and never cover the sound entries behind the
15
2 Using Your Microphone
2.5.4 Backing
Vocals
Refer to fig. 18.
3.1 Microphone
Case
3.2 Internal
Windscreen
(D 77 S, D 88 S)
microphone grill. If you cover the rear sound
entries, the microphone will lose its directivity
and its gain before feedback would drop
sharply.
1. Keep the maximum number of vocalists shar-
ing a microphone to two.
2. To get adequate signal level, make sure the
two vocalists will remain within an angle of
±35 degrees off the microphone axis.
To clean the microphone case, 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.
ENGLISH
3 Cleaning
16
4 Specifications
Polar pattern
Frequency range
Sensitivity
D 11
cardioid
20 Hz to 20 kHz
2.5 mV/Pa
D 22
cardioid
60 Hz to 18 kHz
2.5 mV/Pa
Polar pattern
Frequency range
Sensitivity
D 77 S
cardioid
40 Hz to 20 kHz
2.5 mV/Pa
D 88 S
supercardioid
40 Hz to 20 kHz
2.5 mV/Pa
This product conforms to the standards listed in the Declaration of Con-
formity. To order a free copy of the Declaration of Conformity, visit
This product carries a two-year warranty by AKG Acoustics GmbH
starting from the date of purchase when new. The warranty agreement
covers material and labor cost to repair proven faults and is only valid
for end customers. Exemptions: Batteries, normal wear and tear, mis-
use, handling faults, repair by non-authorized workshops. Furthermore
the relevant legal warranties apply. The details of the AKG warranty
agreement and the address of the nearest AKG service center can be
found on www.akg.com
For more information call AKG USA at (+1-615) 6203800
5 Warranty Conditions
17
6 Troubleshooting
No sound.
1. Power to mixer
and/or amplifier is
off.
2. Channel or master
fader on mixer, or
volume control on
amplifier is at zero.
3. Microphone is not
connected to
mixer or amplifier.
4. Cable connectors
are seated loosely.
5. Cable is defective.
6. D 77 S, D 88 S:
Switch in ”OFF”
position.
1. Switch power to
mixer or amplifier
on.
2. Set channel or
master fader on
mixer or volume
control on ampli-
fier to desired
level.
3. Connect micro-
phone to mixer or
amplifier.
4. Check cable con-
nectors for secure
seat.
5. Check cable and
replace if
damaged.
6. D 77 S, D 88 S:
Set switch to
”ON” position.
Problem Possible Cause Remedy
ENGLISH
Fig. 1 (D 11, D 22, D 77 S/XLR, D 88 S/XLR)
Fig. 2 (D 77 S/Jack, D 88 S/Jack)
Fig. 3 (D 77 S, D 88 S)
Fig. 4 (D 77 S)
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