AKG D 112 Bedienungsanleitung
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:
Rh
y
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
is
a dynamic cardioid microphone
designed for miking
up
bass instruments. Its
frequency response extends down to 20
Hz
and it
is
completely overload-proof.
The
sound entry side
is
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
is
perfectly suited for wind instruments and vocalists,
too.
14
Application:
Finding the optimum microphone placement
is
basically a process of trial and error. Here are a few
hints:
Bass Drum
Most engineers agree that it
is
beneficiat to remove
the front head when miking up the bass drum. A full
drum sound
is
obtained
by
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
in
a
"click"
when the
microphone
is
as
close
as
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
15
Bass Guitar
Place the D
112
up close to the bass speaker and
aim
it
toward the center of the diaphragm to capture
the high frequencies which are radiated over a very
narrow angle only.
Electric Guitar
To mike
up
a guitar amp, place the D 112 close to
the speaker
as
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).
16
Fig. 2
Double Bass
The
sound of a double bass amplified
via
a pickup
can
be
improved
by
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
17
Wind Instruments
The D 112
is
an
excellent microphone for wind
instruments, mainly for the trombone, tenor horn.
and tuba,
as
well
as
for the trumpet, fluegelhorn,
Fig. 4
18
etc. When miking
up
close
(2
to
12
in.)
be
sure to
play to the side of the microphone because loud
passages may cause excessive wind noise or
distortion
(fuzz).
Fig. 5
If
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
is
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"
of
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
in
detail.
19
Wiring:
XLR
vs.
Jack
The
XLR
sockets
on
a mixer or other equipment are
practically always balanced microphone inputs.
When
connecting your microphone to such
an
input,
you
may
use
a cable up to 600 m (2,000 ft.) long
Pin 3
Fig. 6
20
without problems. When making your own cables
be
sure to solder the two inner (audio) wires to the
same pins
on
both connectors (pins 2 and
3)
.
Pin
1
always takes the shield (ground) (see fig.
6).
Andere Handbücher für D 112
4
Dieses Handbuch passt für folgende Modelle
2
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