AKG D 40 Bedienungsanleitung

D40

BEDIENUNGSANLEITUNG ..........S. 2

Bitte vor Inbetriebnahme des Gerätes lesen!

USER INSTRUCTIONS ...............p. 13

Please read the manual before using the equipment!

MODE D’EMPLOI .....................p. 24

Veuillez lire cette notice avant d’utiliser le système!

ISTRUZIONI PER L’USO .............p. 35

Prima di utilizzare l’apparecchio, leggere il manuale!

MODO DE EMPLEO ...................p. 46

¡Sirvase leer el manual antes de utilizar el equipo!

INSTRUÇÕES DE USO ...............p. 57

Favor leia este manual antes de usar o equipamento!

Page

1 Precaution/Description .........................................................................14

Precaution .........................................................................................14

Packing List .......................................................................................14

Optional Accessories...........................................................................14

Features ............................................................................................14

Brief Description .................................................................................15

2 Interfacing ............................................................................................16

3 Using Your Microphone .........................................................................17

Introduction........................................................................................17

Saxophone.........................................................................................17

Trumpet .............................................................................................18

Guitar Amp.........................................................................................19

Tom-toms, Roto-toms, Snare Drum ......................................................19

Bongos, Congas, Timbales...................................................................20

4 Cleaning................................................................................................21

5 Troubleshooting ....................................................................................22

6 Specifications .......................................................................................23

Table of Contents

D40 13

1 Precaution/Description

• Please make sure that the piece of equipment your mi-

crophone will be connected to fulfills the safety regu-

lations 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.

• For optional accessories, refer to the current AKG catalog or

folder, or visit www.akg.com. Your dealer will be glad to

help.

• Frequency response tailored to instrument miking.

• Integrated swivel stand adapter for easy mounting on a mi-

crophone stand.

• H 440 bracket for direct mounting on a drum shell.

• Built-in windscreen/pop filter for effective suppression of

pop and breath noise.

• Frequency-independent cardioid polar response for high

gain before feedback.

The D 40 is a unidirectional (pressure gradient) dynamic micro-

phone. It has been designed primarily as an instrument micro-

phone for rough stage use. The integrated stand adapter pro-

vides a swivel range of approximately 135 degrees for easy,

precise, and reliable microphone alignment. The supplied

1D40 1 H 440 1 protective bag

14 D40

Precaution

Packing List

Optional Accessories

Features

Brief Description

1 Description

H 440 bracket allows you to clamp the microphone directly on

the top hoop of a tom-tom, snare drum, roto-tom, etc. The fre-

quency independent cardioid pickup pattern of the D 40 en-

sures high gain before feedback. The D 40 is fitted with a shock

absorbing inner grille that protects the transducer against dam-

age. The heavy-duty metal body and wire-mesh outer grille pro-

vide additional protection for the transducer system. The outer

grille and a layer of special fabric beneath it form a very effec-

tive windscreen that will suppress blowing and wind noise on

open-air stages.

D40 15

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 un-

balanced microphone input.

• To connect the microphone to a balanced input (XLR con-

nector), use a commercial XLR cable.

• 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.

Please note that unbalanced cables may pick up interfer-

ence from stray magnetic fields near power or lighting ca-

bles, 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 Interfacing

16 D40

Introduction

Saxophone

Fig. 1: Microphone

placement for the

saxophone.

Refer to fig. 1.

The best way to get the “right” sound is to experiment with mi-

crophone placement.The following sections contain useful sug-

gestions.

Please note that moving the microphone closer to the instru-

ment will boost the bass range. (This is known as “proximity ef-

fect”.)

If you consider the noise produced by the keys as characteristic

of the saxophone sound or the song, point the microphone at

the middle of the instrument.

However, if you want no key noise, direct the microphone to-

ward the front outer rim of the bell.

If you aim the microphone into the bell, you will get a high

amount of wind noise.

Optimum working distance is 8 to 12 inches.

On stage, you may have to move as close as

2 inches to the microphone in order to avoid getting feedback or

spillover from other instruments. In this situation, make sure not

to blow right into the microphone.

3 Using Your Microphone

D40 17

Trumpet

Fig. 2: Microphone

placement

for the trumpet.

Refer to fig. 2. The trumpet can put out sound pressure levels up to 130 dB. In

order to prevent overload distortion aim, the microphone at the

lower rim of the bell.

Optimum working distance is 12 to 20 inches.

On stage, you may have to move as close as

2 inches to the microphone in order to avoid getting feedback or

spillover from other instruments. In this situation, make sure not

to blow right into the microphone.

If you get too much blowing noise, use an extra windscreen,

e.g., the optional W 880 from AKG.

3 Using Your Microphone

18 D40

3 Using Your Microphone

Loudspeakers radiate high frequencies within a very narrow an-

gle.

Place the microphone about 2 to 6 inches in front of the loud-

speaker diaphragm and aim the microphone at the center of the

diaphragm.

1. To prevent the top head from ringing excessively, tape a

strip of felt or a piece of tissue paper to the skin in an off-

center position.

2. Screw the supplied H 440 bracket to the stand adapter on

the microphone using the captive knurled-head screw on

the H 440 bracket.

Guitar Amp

Fig. 3: Microphone

placement for a guitar

amp.

Refer to fig. 3.

Tom-toms, Roto-toms,

Snare Drum

Fig. 4: Mounting the

microphone on a

tom-tom.

Refer to fig. 4.

D40 19

Refer to fig. 4

on page 19.

Fig. 5: Aligning the

microphone with a

tom-tom or roto-tom.

Refer to fig. 5.

Bongos, Congas,

Timbales

Fig. 6: Microphone

placement for bongos.

Refer to fig. 6.

3 Using Your Microphone

3. Engage the top groove of the H 440 bracket in the top hoop

from above.

4. Engage the lower arm of the H 440 bracket in the underside

of the top hoop.

5. Align the microphone with the perimeter of the top head.

Place the microphone as close as possible to the drums, aiming

it between the two drums.

Alternatively, you could use two microphones:

Set the microphones up in a “V” forming an angle of about 45

20 D40

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