AKG EMOTION Series Manual de usuario

Bedienungshinweise . . . . . . . . . . . . . . . . . . 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

Antes de utilizar el equipo, lea por favor el manual!

Instruções de uso . . . . . . . . . . . . . . . . . . . p. 52

Por favor leia este manual antes de usar o equipamen

to!

D 880

D 880 S

AKG.EMOTION

EMOTION

MICROPHONE

SERIES

1 1 Precaution/Description

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

missing, please contact your AKG dealer.

•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

• Frequency response tailored to vocal miking.

• Built-in windscreen/pop filter for effective sup-

pression of pop and breath noise.

• Doubleflex™ f transducer shock mount re-

duces handling and cable noise.

• Frequency-independent cardioid polar re-

sponse for high gain before feedback.

• New Varimotion™ diaphragm technology for

brilliant sound.

1 D 880 or D 880 S 1 SA 44 stand adapter

1 Description

1.5 D 880

1.6 D 880 S

Fig. 1: On/off

switch on the

D 880 S

The D 880 is a supercardioid dynamic micro-

phone. It has been designed specifically as a

vocal microphone for rough onstage use. The

wide frequency response of the D 880 slightly

favors the midfrequency and treble regions to en-

sures good intelligibility of speech. The term

"supercardioid polar response" means that the

D 880 is most sensitive to sound arriving from in

front of it, less sensitive to sound arriving from the

sides and rear. This pickup pattern is virtually the

same for all frequencies or, in other words, from

the lowest to the highest notes ("frequency

independent").

A shock absorbing inner grille protects the trans-

ducer from damage. The strong die cast housing

and the wire-mesh outer grille provide additional

protection for the transducer system. 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 D 880 features a standard 3-pin male gold

plated XLR connector for optimum electrical

contact. You can connect the microphone either

to a balanced or an unbalanced microphone input.

The D 880S has the

same mechanical, el-

ectrical, and acoustic

characteristics as the D

880 and features an ad-

ditional noiseless

On/Off switch (Fig. 1).

2 Wiring

2.1 Circuit

Diagram

Fig. 1: D 880 circuit

diagram.

Fig. 2: D 880 S

circuit diagram.

2.2 Connecting

the Microphone

to a Balanced

Input

Refer to fig. 3.

The microphone provides a balanced output on a

3-pin male XLR connector:

Pin 1: ground

Pin 2: hot

Pin 3: return

You can connect the microphone either to a

balanced or an unbalanced microphone input.

1. Use a commercial XLR cable such as the op-

tional MK 9/10 from AKG.

The length of these cables does not affect au-

dio quality.

2. Plug the female XLR connector on the micro-

phone cable into the male XLR connector on

the microphone.

3. Plug the other connector on the microphone

cable into the desired microphone input socket

on your mixer or amplifier.

2 Wiring

2.3 Connecting

the Microphone

to an

Unbalanced

Input

Fig. 4: Using an

unbalanced cable.

Fig. 3: Using a balanced connecting cable.

1. To connect the microphone to an unbalanced

microphone input (1/4” jack), use a cable with a

female XLR connector and a 1/4” TS jack plug.

These cables are available at music stores.

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).

2 Wiring

3.1 Introduction

3.2 Working

Distance and

Proximity Effect

2. Plug the female XLR connector on the micro-

phone cable into the male XLR connector on

the microphone.

3. Plug the other connector on the microphone

cable into the desired microphone input jack

on your mixer or amplifier.

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

reverberation.

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.

3 Using Your Microphone

3.3 Angle of

Incidence

Fig. 5: Typical

microphone

position.

3.4 Feedback

Fig. 6: Microphone

placement for

maximum gain

before feedback.

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.

Feedback is the result of part of the sound pro-

jected by a speaker being picked up by a micro-

phone, fed to the amplifier, and projected again

3 Using Your Microphone

by the speaker. Above a specific volume or

“system gain” setting called the feedback

threshold, the signal starts being regenerated

indefinitely, making the sound system howl and

the sound engineer desperately dive for the

master fader to reduce the volume and stop the

howling.

To increase usable gain before feedback, the

microphone has a supercardioid polar pattern.

This means that the microphone is most sensitive

to sounds arriving from in front of it (your voice)

while picking up much less of sounds arriving

from the sides or rear (from monitor speakers for

instance).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 the monitors, or

at the FOH speakers.

Feedback may also be triggered by resonances

depending on the acoustics of the room or hall.

With resonances at low frequencies, proximity

effect may cause feedback. In this case, it is often

enough to move away from the microphone a

little to stop the feedback.

3 Using Your Microphone

3.5 Backing

Vocals

Fig. 7: Two vocal-

ists sharing a

microphone.

1. Never let more than two persons share a

microphone.

2. Ask your backing vocalists never to sing more

than 35 degrees off the microphone axis.

The microphone is very insensitive to off-axis

sounds. If the two vocalists were to sing into

the microphone from a wider angle than

35 degrees, you may end up bringing up the

fader of the microphone channel far enough to

create a feedback problem.

To clean the microphone case, use a soft cloth

moistened with water.

4 Cleaning

5 Troubleshooting

Problem

No sound:

Possible Cause

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.

Remedy

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

connectors for

secure seat.

5. Check cable and

replace if

damaged.

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