AKG EMOTION D 770 Bedienungsanleitung
Bedienungshinweise . . . . . . . . . . . . . . . . . . S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
User Instructions . . . . . . . . . . . . . . . . . . . . p. 16
Please read the manual before using the equipment!
Mode d’emploi . . . . . . . . . . . . . . . . . . . . . . p. 29
Veuillez lire cette notice avant d’utiliser le système!
Istruzioni per l’uso . . . . . . . . . . . . . . . . . . . p. 42
Prima di utilizzare l’apparecchio, leggere il manuale!
Modo de empleo . . . . . . . . . . . . . . . . . . . . p. 55
Antes de utilizar el equipo, lea por favor el manual!
Instruções de uso . . . . . . . . . . . . . . . . . . . p. 68
Por favor leia este manual antes de usar o equipamen
to!
D 770
AKG.EMOTION
EMOTION
MICROPHONE
SERIES
16
1 Precaution/Description
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
missing, please contact your AKG dealer.
•MK 9/10 microphone cable: 10 m (30 ft.) 2-
conductor shielded cable with 3-pin male and
3-contact female XLR connectors
•ST 102A, ST 200 floor stands
•ST 1, ST 12, ST 45 table stands
•W 880 windscreen
• Frequency response tailored to miking instru-
ments and backing vocals.
• Built-in windscreen/pop filter for effective sup-
pression of pop and breath noise.
• Doubleflex™ f transducer shock mount redu-
ces handling and cable noise.
• Frequency-independent cardioid polar res-
ponse for high gain before feedback.
• New Varimotion™ diaphragm technology for
brilliant sound.
1 D 770 1 SA 44
17
1 Description
1.5 Brief
Description
The D 770 is a cardioid dynamic microphone. It
has been designed primarily as an instrument
microphone for rough stage use and for miking up
backing vocals. The wide frequency response of
the D 770 slightly favors the midfrequency and
treble regions and thus ensures good intelligibility.
Having a cardioid polar response, the D 770 is
most sensitive to sound arriving from in front of it,
less sensitive to sound arriving from the sides, and
least sensitive to sound arriving from the rear. This
polar pattern is virtually the same for all frequen-
cies ("frequency independent"). The D 770 is fitted
with a shock absorbing inner grille for transducer
protection against damage. 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. The D 770 features
a gold plated 3-pin male XLR-type connector for
optimum electrical contact. You can connect the
microphone either to a balanced or an unbalanced
microphone input.
18
2 Wiring
2.1 Circuit
Diagram
Fig. 1: Microphone
circuit diagram.
2.2 Connecting
the Microphone
to a Balanced
Input
Fig. 2: Using a
balanced connect-
ing cable.
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 unbalanced microphone input.
1. Use a commercial XLR cable such as the op-
tional MK 9/10 from AKG.
The length of these cables does not affect au-
dio quality.
2. Plug the female XLR connector on the micro-
phone cable into the male XLR connector on
the microphone.
3. Plug the other connector on the microphone
19
2 Wiring
2.3 Connecting
the Microphone
to an Unbalanced
Input
Fig. 3: Using an
unbalanced cable.
cable into the desired microphone input socket
on your mixer or amplifier.
1. 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.
These cables are available at music stores.
Please note that unbalanced cables may pick
up interference from stray magnetic fields near
power or lighting cables, 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. Plug the female XLR connector on the micro-
phone cable into the male XLR connector on
the microphone.
3. Connect the 1/4" jack plug on the microphone
cable to the desired microphone input jack on
your mixer or amplifier.
20
3 Using Your Microphone
3.1 Proximity
Effect
3.2 Feedback
Fig. 4: Microphone
placement for
maximum gain
before feedback.
The best way to get the "right" sound is to experi-
ment with microphone placement. The following
sections contain useful suggestions.
Please note that moving the microphone closer to
the instrument will boost the bass range of the
microphone signal. Using this effect, you can
create your personal sound by varying the work-
ing distance.
Feedback is the result of part of the sound project-
ed by a speaker being picked up by a microphone,
fed to the amplifier, and projected again by the
speaker. Above a specific volume or "system
gain" setting called the feedback threshold, the
signal starts being regenerated indefinitely, mak-
ing the sound system howl and the sound en-
gineer desperately dive for the master fader to re-
duce the volume and stop the howling.
To increase usable gain before feedback, the
microphone has a cardioid polar pattern. This me-
ans that the microphone is most sensitive to
sounds arriving from in front of it while picking up
much less of sounds arriving from the sides or rear
(from monitor speakers for instance).
21
3 Using Your Microphone
3.3 Flute
Fig. 5: Microphone
placement for the
flute.
To maximize gain before feedback, place the main
("FOH") speakers in front of the microphones
(along the front edge of the stage).
Be sure never to point any microphone 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 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.
Working distance primarily depends on the kind of
music played. For popular and jazz pieces, rela-
tively short distances may be desirable (1 or 2 in.),
as the amount of wind and breath noise rises with
decreasing working distance. In this case, blow a
little below the microphone in order to avoid
getting too much noise by blowing at it from an ex-
tremely short distance. For classical music, which
calls for spatial reproduction, place the micro-
phone about 4 to 8 inches away from the instru-
ment and slightly above it. Aim the D 770 down to-
ward and roughly at right angles to the flute.
22
3 Using Your Microphone
3.4 Saxophone
Fig. 6: Microphone
placement for the
saxophone.
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 in-
strument.
However, if you want no key noise, direct the
microphone toward the front outer rim of the bell.
If you aim the microphone into the bell, you will get
too much 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 instru-
ments. In this situation, make sure not to blow
right into the microphone.
23
3 Using Your Microphone
3.5 Harmonica
Fig. 7: Using the
microphone on the
harmonica.
Many harmonica players form a resonant cavity
behind the instrument with their hands.
You can achieve certain effects by changing the
cavity. Hold the microphone inside the cup you
form with your hands.
The D 770 is particularly well suited for this playing
technique since it cannot slip away because of the
shape of its head, and the built-in windscreen will
effectively suppress pop and wind noise.
24
3 Using Your Microphone
3.6 Bongos,
Congas,
Timbales
Fig., 8: Micro-
phone placement
for the bongos.
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 degrees and aim the microphones at
the perimeters of the top heads.
Experiment to find out at what working distance
you get exactly the amount of attack you want.
The closer you place the microphone(s), the
punchier the sound will get.
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