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

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

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.

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

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.

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).

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.

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.

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.

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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