AKG D 112 Manual de usuario

Live Sound & Studio

Recording

PROFESSIONAL LIVE & STUDIO DRUM SET

D 112

•Large-diaphragm dynamic microphone for bass instruments

•Extremely high SPL capability

•Classic microphone for stage and studio applications

D 40

•Dynamic microphone designed for drums and percussions, wind

instruments, and guitar amps

•Patented AKG Varimotion diaphragm technology

•Custom built capsule mounting

•Integrated stand adapter H440

•Spring steel wire-mesh cap

•Rugged all-metal body withstands typical tough handling on stage

C 430

•Miniature condenser microphone for cymbal and overhead miking

•Phantom or battery powering options

•Mounts securely on all commercial microphone stands

Rhythm Pack

Instrument Microphones

Package Content:

•2 x C 430, 2 x SA 60, 2 x W 32

•3 x D 40; 3 x H 440

•1 x D 112; 1 x SA 60

Item Number:

thm Pack 2581Z00130

Additional spare space inside !

Instrument Microphones

BEDIENUNGSANLEITUNG .......... S. 2

Bitte vor Inbetriebnahme des Gerätes lesen!

USER INSTRUCTIONS............... p. 14

Please read the manual before using the equipment!

MODE D’EMPLOI..................... p. 26

Veuillez lire cette notice avant d’utiliser le système!

ISTRUZIONI PER L’USO ............ p. 38

Prima di utilizzare l’apparecchio, leggere il manuale!

MODO DE EMPLEO .................. p. 49

¡Sirvase leer el manual antes de utilizar el equipo!

INSTRUÇÕES DE USO............... p. 60

Favor leia este manual antes de usar o equipamento!

D112

Description:

General

The

0 112

a dynamic cardioid microphone

designed for miking

bass instruments. Its

frequency response extends down to 20

and it

completely overload-proof.

The

sound entry side

identified by a green bumper band. Sounds arriving

from the sides and rear are suppressed.

Construction

The

0 112 has a die-cast aluminum case and a

stainless steel wire mesh grille. With its dual

windscreen to keep out wind noise, the 0 112

perfectly suited for wind instruments and vocalists,

too.

Application:

Finding the optimum microphone placement

basically a process of trial and error. Here are a few

hints:

Bass Drum

Most engineers agree that it

beneficiat to remove

the front head when miking up the bass drum. A full

drum sound

obtained

placing the microphone

just outside the drum.

The

further inside, the drier and

1ess

boomy the

sound and the better the acoustic separation of the

bass drum from the rest of the

kit.

Pointing the

microphone right toward the beater produces a

harder sound culminating

"click"

when the

microphone

1 or 1.5 inches to where

the beater strikes the head. Directing the micro-

phone away from this point, toward the rim of the

head,

will mellow the sound.

Fig. 1

Bass Guitar

Place the D

112

up close to the bass speaker and

aim

toward the center of the diaphragm to capture

the high frequencies which are radiated over a very

narrow angle only.

Electric Guitar

To mike

a guitar amp, place the D 112 close to

the speaker

shown. If your guitar sounds weak

and thin through the

PA,

the D

112

will restore the

lacking punch and bass (e.g., of certain open-back

combo amps with poor bass response).

Fig. 2

Double Bass

The

sound of a double bass amplified

via

a pickup

can

improved

adding a microphone.

The

two

signals are eq'd separately and then mixed. Place

the D 112 about 4 to 8 inches away from the bridge

for increased warmth and fullness of sound.

Fig. 3

Wind Instruments

The D 112

excellent microphone for wind

instruments, mainly for the trombone, tenor horn.

and tuba,

well

for the trumpet, fluegelhorn,

Fig. 4

etc. When miking

in.)

sure to

play to the side of the microphone because loud

passages may cause excessive wind noise or

distortion

(fuzz).

Fig. 5

you

want to learn more about microphones and

how to use them, get a copy of "The Microphone

Technology and Techniques" by Norbert Pawera.

The

book

available at

yowr

local music shop. It

describes, in a straightforward and easy-to- read

manner, basic microphone designs, acoustics

(reverberation, room radius, the

"acoustics"

halls,

...

) acoustic properties of musical instruments

(compass, formants,

...

how to choose the right

microphone for a given instrument, and how to

place microphones for best results. Both studio and

onstage uses are discussed

detail.

Wiring:

XLR

vs.

Jack

The

XLR

sockets

a mixer or other equipment are

practically always balanced microphone inputs.

When

connecting your microphone to such

input,

you

may

use

a cable up to 600 m (2,000 ft.) long

Pin 3

Fig. 6

without problems. When making your own cables

sure to solder the two inner (audio) wires to the

same pins

both connectors (pins 2 and

always takes the shield (ground) (see fig.

6).

Otros manuales para D 112

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