AKG C 5900M Bedienungsanleitung

Bedienungsanleitung. . . . . . . . . . . . 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

¡Sirvase leer el manual antes de utilizar el equipo!

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

Por favor leia este manual antes de usar o equipamento!

C 5900M

C 5900M/TM 40

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 components listed

above. Should anything be missing, please contact your AKG

dealer.

•Frequency response tailored to vocal use.

•Integrated wind and pop screen for effective suppression of

pop and breath noise.

•Switchable bass cut filter for suppression of low-frequency

rumble.

•Selectable 0 dB or +6 dB output level.

•Frequency independent supercardioid polar pattern for high

gain before feedback.

•Backplate condenser transducer for crisp sound.

•Built-in spider type transducer shock mount for handling

and cable noise compensation.

1 Precaution/Description

• MK 9/10 microphone cable: 10 m (30 ft.)

2-conductor shielded cable with 3-pin male and

3-contact female XLR connectors

• TM 40 transmitter module

• W 23, W 3001 windscreens

• H 30 universal elastic suspension,

SA 26 stand adapter

• ST 102A, ST 200, ST 305

floor stands

• N 62, N 66, B 18, B 15

phantom power supplies

1 C 5900M

or C 5900M/TM 40

1 SA 61 1 Carrying case

1.5 C 5900M,

C 5900M/TM 40

Fig. 1:

Ergonomically

optimized shape.

•Extremely resilient, spring-steel wire-mesh cap for extra

impact resistance.

•Installation slot for optional TM 40 transmitter module.

The AKG C 5900Mis a supercardioid condenser microphone

designed for vocal use on stage. A slight sensitivity peak

between 3 kHz and 15 kHz provides good intelligibility and will

make your voice cut through the loudest mix on stage.

A rugged front grill made of spring-steel wire mesh that is

extremely resistant to deformation and a sturdy zinc alloy die-

cast body effectively protect the microphone and transducer

element from damage on stage and on the road.

A level selector (1) allows you to boost the microphone's output

level by 6 dB to match the signal level to less sensitive inputs.

A switchable bass cut filter (2) (-12 dB/octave from 100 Hz)

effectively reduces low-frequency rumble.

The microphone element uses a proven backplate condenser

transducer. Similar to an anechoic chamber, an absorption ring

of synthetic rubber at the back of the capsule prevents reflec-

tions within the capsule that might degrade the frequency

response. An integrated spider type shock mount on the trans-

ducer element effectively suppresses handling and cable noise.

An internal windscreen reduces pop, wind, and breath noise to

a minimum.

The C 5900Mfeatures a removable connection module with a 3-

pin XLR connector. You can connect the microphone to both

balanced and unbalanced mixer or amplifier inputs.

The microphone body has been specifi-

cally designed for fatigue-free handling

and ease of use. No matter what micro-

phone technique you use, the micro-

phone will always settle comfortably into

your hand.

1 Description

Fig. 2: Optional

TM 40 transmitter

module.

2.1 General

Refer to sections

2.2 and 2.3.

2.2 Input with

Phantom Power

Fig. 3: Connecting

to a balanced input.

Refer to fig. 3.

2.3 Input with No

Phantom Power

Refer to fig. 3.

You can easily convert the microphone

into a wireless microphone. All you need

to do is remove the XLR connector mod-

ule and replace it with an optional TM 40

transmitter module.

The C 5900Mis a condenser microphone and therefore needs a

power supply.

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 micro-

phone input with or without phantom power or an unbalanced

microphone input.

1. Use an XLR cable (e.g., the optional MK 9/10 from AKG) to

connect the microphone to a balanced XLR input with

phantom power.

2. Switch the phantom power on. (Refer to the manual of the

unit to which you connected your microphone.)

1. If your mixer provides no phantom power, connect an

optional AKG phantom power supply (N 62 E, N 66 E, B 18,

B 15) between the microphone and the mixer.

1 Description

2 Interfacing

2.2

2.3

C 5900M

Phantom

Important!

2.4 Unbalanced

Input

Fig. 4: Connecting

to an unbalanced

input.

Refer to fig. 4.

Note:

2.5 Optional

TM 40 Transmitter

Module

Start by removing

the XLR connec-

tor module:

Fig. 5: Removing

the XLR connector

module.

Refer to fig. 5.

Using any power supply other than those recommended

by AKG may damage your microphone and will void the

warranty.

You may connect AKG phantom power supplies to unbalanced

inputs, too.

Use a cable with a female XLR connector and TS jack plug:

1. On the XLR connector, use a wire bridge to connect pin 1 to

pin 3 and the cable shield.

2. Connect the inside wire of the cable to pin 2 on the XLR

connector and the tip contact of the jack plug.

Unbalanced cables may pick up interference from stray mag-

netic fields near power or lighting cables, electric motors, etc.

like an antenna. This may introduce hum or similar noise when

you use a cable that is longer than 16 feet (5 m).

The optional TM 40 transmitter module allows you to convert

your microphone into a wireless microphone that you can use

with any WMS 40 Series receiver from AKG.

1. Open the fixing screw (1).

2 Interfacing

C 5900MPhantom

Refer to fig. 5.

Install the trans-

mitter module:

Fig. 6: Installing the

transmitter module.

Refer to fig. 6.

Note:

Replacing the

transmitter

module with the

XLR connector

module:

Refer to fig. 7.

2. Pull the XLR connector module (2) out of the microphone

body.

3. To avoid losing the fixing screw (1), screw it into the thread-

ed hole (3) in the XLR connector module.

1. Do not forget to check the condition of the battery inside the

transmitter module. If the battery is dead or there is no bat-

tery inside the transmitter module, insert a new battery.

2. Hold the transmitter module (1) to align the contacts (2) with

the microphone.

3. Slide the transmitter module (1) into the microphone body to

the point that the transmitter module (1) will lock with an

audible click.

As the transmitter module locks in place, the electrical con-

nections to the microphone are made automatically.

For details on inserting, replacing, and testing the battery as

well as setting up and operating the transmitter module

refer to the TM 40 transmitter module manual.

1. Insert a ball point pen, small screwdriver, or similar pointed

object into the opening (1) in the microphone body and

press inward.

The transmitter module (2) will unlock and slide out of the

microphone body for about 0.1 inch.

2. Pull the transmitter module (2) out of the microphone.

3. Unscrew the fixing screw (4) from the XLR connector mod-

ule (3).

4. Slide the XLR connector module (3) into the microphone

body to the stop.

5. To fix the XLR connector module (3), screw the fixing screw

(4) down firmly.

2 Interfacing

Fig. 7: Removing

the transmitter

module.

Note:

3.1 Introduction

3.2 Working

Distance and

Proximity Effect

Alternatively, you can remove the transmitter module simply by

pulling it out of the microphone body with just enough force to

unlock it. Make sure not to grasp the transmitter module by the

battery compartment. (If you did, you would only open the bat-

tery compartment.)

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.

The following sections apply to both the hardwire C 5900Mand

the wireless version with an optional TM 40 transmitter module

installed.

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 rever-

beration.

You can use this effect to make your voice sound aggressive,

neutral, insinuating, etc. simply by changing your working dis-

tance.

Proximity effect is a more or less dramatic boost of low fre-

quencies 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.

2 Interfacing

3 Using Your Microphone

3.3 Angle of

Incidence

Fig. 8: Typical

microphone

position.

3.4 Feedback

Fig. 9: Microphone

placement for maxi-

mum gain before

feedback.

Refer to fig. 9.

Sing to one side of the micro-

phone or above and across

the microphone’s top. This

provides a well-balanced, nat-

ural 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 project-

ed by a speaker

being picked up

by a microphone,

fed to the amplifi-

er, and projected

again 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") speak-

ers in front of the microphones (along the front edge of the

stage).

If you use monitor speakers, be sure never to point any micro-

phone 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 fre-

quencies, 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. 10: Two vocal-

ists sharing a micro-

phone.

4.1 Microphone

Body

4.2 Internal

Windscreen

1. Never let more than two

persons share a micro-

phone.

2. Ask your backing vocalists

never to sing more than 35

degrees off the micro-

phone axis.

The microphone is very

insensitive to off-axis

sounds. If the two vocal-

ists 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 surface of the microphone body, 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.

3 Using Your Microphone

4 Cleaning

5 Troubleshooting

No sound.

Distortion.

Microphone sound

becomes duller

by and by.

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 con-

nected to mixer or

amplifier.

4. Cable connectors are

seated loosely.

5. Cable is defective.

6. No supply voltage.

7. Transmitter module is off

or muted.

8. No/dead battery in

transmitter module.

9. Receiver is off or not

connected to mixer.

1. Gain control on mixer or

transmitter module not

set correctly.

2. Mixer input sensitivity

too high.

•Internal or external

windscreen attenuates

high frequencies when

soiled.

1. Switch power to mixer

or amplifier on.

2. Set channel or master

fader on mixer or vol-

ume control on amplifier

to desired level.

3. Connect microphone to

mixer or amplifier.

4. Check cable connectors

for secure seat.

5. Check cable and

replace if damaged.

6. Switch phantom power

on.

Phantom power supply:

connect to power outlet

or insert battery (batter-

ies).

Check cable and

replace if necessary.

7. Switch transmitter mod-

ule on.

8. Insert new/fully charged

battery.

9. Switch receiver on or

connect to mixer.

1. Set gain control to stop

distortion.

2. Insert 10 dB preattenua-

tion pad between micro-

phone cable and input.

•Clean internal or exter-

nal windscreen.

Problem Possible Cause Remedy

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