AKG C5 VOCAL Bedienungsanleitung

VOCAL

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

Favor leia este manual antes de usar o equipamento!

Page

1 Precaution / Description.....................................................13

1.1 Precaution...................................................................13

1.2 Unpacking...................................................................13

1.3 Optional Accesories....................................................13

1.4 Features ......................................................................13

1.5 Brief Description .........................................................14

2 Interfacing ...........................................................................15

3 Using Your Microphone ......................................................16

3.1 Introduction.................................................................16

3.2 Working Distance and Proximity Efffect ......................16

3.3 Angle of Incidence ......................................................16

3.4 Feedback ....................................................................17

3.5 Backing Vocals............................................................18

3.6 Installing the PB 1000 .................................................18

4 Cleaning...............................................................................19

4.1 Microphone Body .......................................................19

4.2 Internal Windscreen ....................................................19

5 Troubleshooting ..................................................................20

6 Specifications......................................................................21

12 AKGC5

Table of Contents

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 miss-

ing, please contact your AKG dealer.

• For optional accessories, refer to the current

AKG catalog or folder, or visit www.akg.com.

Your dealer will be glad to help.

• Rugged condenser microphone for vocal mik-

ing on stage.

• Extremely resilient, spring-steel wire-mesh cap

for extra impact resistance.

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

pression of pop and breath noise.

• Transducer shock mount reduces handling and

cable noise.

• Frequency-independent cardioid polar re-

sponse for high gain before feedback.

• PB 1000 Presence Boost attachment for opti-

mum intelligibility of speech.

1 Precaution / Description

AKGC5 13

1C5 1SA45 1 PB 1000

1micro-

phone bag



1.5 Brief

Description

The AKG C 5 is a vocal microphone for profes-

sional use on stage.

A frequency response tailored to vocal reproduc-

tion and a cardioid polar pattern provide a smooth

sound and high gain before feedback.

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.

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 supplied PB 1000 Presence Boost attach-

ment provides a boost of approx. 5 dB between

5 kHz and 9 kHz for optimum intelligibility of

speech.

1 Description

14 AKGC5

The C 5 is 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

Pin2:hot

Pin3:return

1. Use an XLR cable 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.)

2 Interfacing

AKGC5 15

3.1 Introduction

3.2 Working

Distance and

Proximity Effect

3.3 Angle of

Incidence

Refer to fig. 1.

Fig. 1: Typical mi-

crophone position.

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 re-

verberation.

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.

Sing to one side of the

microphone or above

and across the micro-

phone’s top. This pro-

vides a well-balanced,

natural sound.

If you sing directly into

the microphone, it will

not only pick up exces-

sive breath noise but

also overemphasize "sss", "sh", "tch", "p", and "t"

sounds.

3 Using Your Microphone

16 AKGC5

3.4 Feedback

Fig. 2: Microphone

placement for

maximum gain

before feedback.

Refer to fig. 2.

The term “feedback” means that part of the sound

projected by a speaker is picked up by a micro-

phone, fed back to the amplifier, and projected

again by the speaker. Above a specific volume or

"system gain" setting the sound system will start

howling and the sound engineer will desperately

dive for the master fader to reduce the volume and

stop the howling.

To increase usable gain before feedback, the mi-

crophone has a cardioid polar pattern. It is most

sensitive to sounds arriving from in front of it (your

voice) while picking up much less of sounds arriv-

ing from the sides or rear (from monitor speakers

for instance).

To maximize gain before feedback, place the 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 a monitor or FOH

speaker.

Feedback may also be triggered by resonances

depending on the acoustics of the room or hall.

3 Using Your Microphone

AKGC5 17

3.5 Backing

Vocals

Fig. 3: Two

vocalists sharing a

microphone.

3.6 Installing

the PB 1000

Fig. 4: Microphone

capsule without (a)

and with (b) PB 1000.

Important!

With resonances at low frequencies, proximity ef-

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

enough to move away from the microphone a little

to stop the feedback.

1. Never let more than

two persons share a

microphone.

2. The microphone is

very insensitive to off-

axis sounds. If the

two vocalists were to

sing into the micro-

phone from an angle

wider than 35 de-

grees, you mayend up bringing up the fader of

the microphone channel far enough to create a

feedback problem.

1. Unscrew and remove the wire mesh cap.

2. Slip the PB 1000 on the microphone capsule to

the stop, slightly turning the attachment as you

push it home.

• When installing or removing the PB 1000,

make sure to grip the capsule and shock

mount firmly with your thumb and forefinger

in order to prevent the capsule being sev-

ered from the shock mount.

3 Using Your Microphone

18 AKG C 5

4.1 Microphone

Body

4.2 Internal

Windscreen

• 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.

4 Cleaning

AKGC5 19

5 Troubleshooting

20 AKGC5

Problem Possible Cause Remedy

No sound.

1. Power to mixer

and/or amplifier is off.

2. Channel or master

fader on mixer, or vol-

ume control on ampli-

fier is at zero.

3. Microphone is not

connected to mixer or

amplifier.

4. Cable connectors are

seated loosely.

5. Cable is defective.

6. No supply voltage.

1. Switch power to

mixer or amplifier on.

2. Set channel or master

fader on mixer or vol-

ume control on ampli-

fier to desired level.

3. Connect microphone

to mixer or amplifier.

4. Check cable connec-

tors for secure seat.

5. Check cable and re-

place if damaged.

6. Switch phantom

power on.

Check cable and re-

place if necessary.

Distortion.

1. Gain control on mixer

or transmitter module

not set correctly.

2. Mixer input sensitivity

too high.

1. Set gain control to

stop distortion.

2. Insert 10 dB preatten-

uation pad between

microphone cable

and input.

Microphone sound be-

comes duller

by and by.

• Internal or external

windscreen attenu-

ates high frequencies

when soiled.

• Clean internal or ex-

ternal windscreen.

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