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

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

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

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.

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

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

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

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

http://www.akg.com or contact [email protected]

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

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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