AKG C 535 EB Bedienungsanleitung

Bedienungshinweise

User Instructions

Mode d’emploi

Istruzioni per l’uso

Modo de empleo

C 535 EB

Description:

The C 535 EB cardioid condenser microphone was designed especially

for professional vocal and instrumental work both on the stage and in

the studio.

The C 535 EB has proven to be ideally suited for all situations placing

high demands on the sound quality and the robustness of a micro-

phone. The superior design of the microphone, tailored strictly to the

requirements of the music scene, offers to the user a number of advan-

tages, including an extended frequency range, negligible distortion

even at high sound pressure levels, insensitivity to structure-borne

noise, trouble-free operation even in extreme temperatures and humid-

ity, and robust construction. Its weight being evenly distributed over its

compact size, the microphone does not in any way encumber the user –

mainly the vocalist – when working with it.

The high quality condenser transducer is screwed into an elastic

suspension element. This arrangement effectively prevents handling

and cable noise from being transmitted. The excellent transient

response of the microphone results from the use of extremely thin

diaphragm materials which made it possible to reduce moving masses

to about 2 milligrams. The result is brilliant, transparent, and faithful

reproduction of voices and instruments.

The sturdy steel wire-mesh front grille will take the kind of punishment

the microphone receives during stage work and protects the transducer

against mechanical damage. An additional foam lining will suppress

pop noise and wind noise created by wind instruments.

A built-in mode switch enables you to adapt the microphone’s fre-

quency response and sensitivity to a variety of recording situations.

As a safeguard against unintentional activation, the switch is re-

cessed in the microphone shaft. Use a small screwdriver or similar

object to adjust the desired switch

position.

The switch offers four different positions:

0 dB – concenser microphone output

level (7 mV/Pa), flat, overload

limit: 130 dB SPL.

0 dB consenser microphone output

level (as above) with bass-cut

filter below 100 Hz slope:

12 dB/octave.

Applications: mainly instrumen-

tal recordings, for reducing

unwanted low frequency struc-

ture-borne noise.

–14 dB – attenuation of –14 dB, dynamic microphone output level,

flat, overload limit: 144 dB SPL.

Applications: recording high sound level instruments, or pre-

vention of overloading of mixer or amplifier inputs which are

adjusted for dynamic microphones.

–14 dB preattenuation of –14 dB (as above) with additional bass

rolloff filter below 500, slope: 4 dB/octave.

Applications: as above, mainly vocalist, but also instrumen-

tal recording, close-in miking in situations requiring effective

suppression of proximity effect.

The die-cast zinc alloy housing contains the preamplifier, d.c. voltage

regulator circuit, impedance converter, output transformer, and the

3-pin standard XLR connector (male).

Wiring: balanced, ungrounded.

The surface of the C 535 EB is matte black; therefore, the microphone

is highly inconspicuous which is a particular advantage in television

and stage work. Strong spotlights will not cause irritating light

reflections.

The C 535 EB is designed for external universal phantom powering

(9 … 52 volts, according to DIN 45596) and may be fed from mixers,

tape recorders, battery, or mains operated power supply units. Current

consumption is lower than 1 mA.

Your C 535 EB carries its individual serial number and is packed in a

solid case lined with a soft foam material, complete with a “Quick

Release” stand adapter (SA 41/1).

Applications:

We developed the C 535 EB to meet the musician’s demands. Record-

ing fine vocal or instrumental music, the professional’s search for bril-

liant, transparent sound, pianissimo passages coming through as

clearly as fortissimo passages do, expected pop noise problems with

vocalists or wind noise from wind instruments: this is what the

C 535 EB is really made for. On the basis of extensive testing done in

cooperation with many fine musicians, on stages as well as in many

studios, we recommend the C 535 EB particularly for the following ap-

plications.

Vocals Instruments

Soloist Acoustic Guitar

Choir Clarinet

Flute

Trumpet

Trombone

HiHat

Cymbals

Snare

Vocals

In terms of sound generation, the human voice is a highly complex

sound source. Our ears are, in a way, “trained” to recognize voices and

are capable of detecting even minute deviations of timbre. Sounds

generated by the human voice can be categorized as sibilants

containing very high frequency components, explosives causing wind

and pop noise, and vowels determining the timbre of a voice by certain

formants (predominant frequency bands). The compass of the human

voice extends from about 90 Hz to around 10 kHz (including fundamen-

tals and harmonics).

The reason why the C 535 EB is particularly suited for vocalist use is

that it is the first condenser microphone to offer the required robustness

and insensitivity to exication by structure-borne noise. Another impor-

tant feature is the four-position mode switch recessed in the micro-

phone shaft. It allows the user to adjust the microphone to the specific

situation.

1. The sensitivity may be changed from about 7 mV/Pa, which is typical

of condenser microphones, to a value 14 dB lower (about 1/5th).

Thus, the microphone may be connected to such devices as are

designed to accept dynamic microphones.

2. A so-called low-cut filter serves to reduce low frequency noise

(like rumble, floor noise etc.) below 100 Hz with a slope of about

12 dB/octave.

3. A rolloff filter compensates the proximity effect (low frequency boost

when the microphone is closer than one foot to the sound source)

typically experienced with single diaphragm systems. The elastic

suspension of the microphone system eliminates unwanted handling

noise.

The built-in wind and pop screen inside the wiremesh front grille will

suppress particularly accentuated explosives to such an extent as to

avoid overloading the sound system in the low frequency region.

Practice and experiment to find out how to use this high quality sound

transducer to the best effect. Find out how you can actively change the

sound by singing directly into the microphone or to the side of it, by

holding it close to your mouth or a bit farther away and practice to

create your own sound!

Acoustic Guitar

The sound of the acoustic guitar is very weak. Therefore, it is necessary

in many cases to boost effectively the loudness of this instrument in

relation to other instruments. Microphone placement depends primarily

on the kind of guitar played and the playing technique used.

Gut and nylon strings produce few harmonics. Bass is radiated mainly

through the sound hole, treble by the top. Direct the C 535 EB toward a

point on an imaginary line through the bridge, on the lower half of the

body. Steel strings produce more overtones than gut or nylon strings.

Direct the C 535 EB toward the sound hole rather than the top. Working

distance should be about 8 inches depending, however, on the playing

technique employed by the musician. Changing microphone orientation

and/or distance will change the tone reproduced. Since it is necessary

to place the microphone close to the instrument, the bass response will

be exaggerated. This proximity effect may be compensated for by

setting the mode switch to –14 dB .

Bass boost may also be avoided by directing the C 535 EB toward fret

no. 14, approximately where the neck joints the body.

Steel-string guitars with built-in pickups inevitably produce a rather flat

tone because magnetic pickups work well only in the midrange.

Because of the radiation characteristics of acoustic guitars – high

frequency components are radiated by the strings themselves, low

frequencies being radiated through the sound hole – a well-balanced

sound can be achieved by using an additional microphone.

Clarinet

The C 535 EB is perfectly suited for miking up the clarinet. The flat fre-

quency response with a slight treble boost of approximately 2 dB is

ideal for reproducing the sound spectrum of this instrument. Frequency

components between 800 Hz and 3 kHz are radiated exclusively from

the keys. At higher frequencies, radiation shifts toward the bell. Fre-

quencies above 5 kHz are radiated through the bell only. In order to

attain a well-balanced tone, mount the C 535 EB on a floor stand

(e.g. AKG St 200) and aim it at the conical portion of the clarinet,

directing it roughly toward the lowest key.

Flute

Most of the flute sound is radiated in the blowing direction of the player.

With frequencies higher than 3 kHz, preferred radiation shifts to the

right, toward the end of the flute body. When miking up the flute, the

position of the microphone depends primarily on which kind of music is

performed. Depending on the desired tone color, the C 535 EB may be

placed one to two inches, or 4 to 8 inches in front of the performer’s

lips. It is advisable to blow to the side of the microphone, in order to

avoid excessive wind noise. With extremely short working distances, it

is best to blow below the microphone.

During the actual performance, the position of the player’s lips relative

to the microphone should, if possible, remain unchanged. If it is

necessary to capture the high frequency components above 3 kHz,

too, use an additional microphone, e.g. an AKG D 224 two-way

microphone.

Trumpet

As opposed to other instruments, microphone placement for trumpets

is easy because of the instrument’s radiation pattern: up to about

500 Hz the sound is evenly distributed in all directions. Midrange fre-

quencies are radiated through the bell over a large angle in the playing

direction, the angle narrowing with rising frequency. Above 5 kHz the

radiation angle is about 30°. Mount the C 535 EB on a floor stand and

place it one to two feet away from the instrument, at an acute angle with

it. Thus, the trumpet player will not blow directly into the microphone so

as to avoid wind noise, above all at high sound levels.

Reduce the microphone level via the mode switch (position –14 dB flat),

in order to prevent microphone overloading and distortion during

passages of wide dynamic range.

Powering Technique:

The AKG C 535 EB has been designed for phantom powering accord-

ing to DIN 45596. These standards specify a positive voltage of 12, 24

or 48 volts on the audio lines versus the cable shield.

Connection diagrams for balanced inputs:

Input circuitry incorporating transformer with center tap (ungrounded).

Input circuitry incorporating transformer without center tap

(ungrounded).

The resistors 2 x Rv must have a tolerance not exceeding 0.5 % in order

to satisfy the symmetry requirement.

Standardized values for Rv and 2 x Rv:

+ UB Rv 2 x Rv

12 V ± 2 V 680 ohms 330 ohms

24 V ± 4 V 1200 ohms 680 ohms

48 V ± 4 V 3300 ohms 6800 ohms

Phantom powering with unbalanced inputs

If only single ended (grounded) amplifier inputs or no input transformers

are available, either capacitors or optional transformers must be wired

into the audio lines to prevent leakage currents from entering the input

stage.

Specifications:

Transducer Principle: condenser transducer, prepolarized

Polar Pattern: cardioid

Frequency Range: 20 … 20,000 Hz ±3 dB

from published curve

Sensitivity at 1,000 Hz: 7 mV/PaⳎ–0.7 mV/µbar

(–63 dBV, re 1 µbar)

Electrical Impedance: 200 ohms, ±20 % balanced

Recommended Load Impedance: 

600 ohms

Hum Sensitivity (at 50 Hz): 4 µV/5 µT

Equivalent Noise Level acc. to

DIN 45412 (A-weighted): 21 dB-A

Maximum Sound Pressure

(for 1 % T.H.D. at 1,000 Hz

into 600-ohm load): 80 PaⳎ130 dBSPL

with –14 dB attenuation: 400 PaⳎ144 dBSPL

Climatic Conditions: temperature range: –20° C … +60° C

rel. humidity at 20° C: 99 %

Supply Voltage: 9 … 52 V (acc. to DIN 45596)

Current Consumption: approx. 1 mA

Connector Type: 3-pin male standard XLR

pin 1: ground, pin 2: audio inphase,

pin 3: audio

Housing Material: zinc alloy

Finish: matte black

Dimensions: head diameter: 46 mm (1 13/16 inch),

length: 184 mm (7 1/4 inch)

Net Weight: 300 grams (10.6 oz.)

Shipping Weight: 800 grams (1.7 lb.)

Included Accessories: SA 41/1 stand adapter

Optional Accessories: W 23 pop/windscreen

N 62 E two-channel

mains power supply unit

N 66 E six-channel

mains power supply unit

B 18 battery power supply unit

This product conforms to EN 50 082-1.

Dimensional Drawing:

Circuit Diagram:

Frequency Response:

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