AKG MicroMic C417 III Bedienungsanleitung

C417

III

BEDIENUNGSHINWEISE . . . . . . . . . . . . . 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

Antes de utilizar el equipo, sirvase leer el manual!

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

Favor leia este manual antes de usar o equipamento!

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.

• Professional miniature clip-on microphone.

• Omnidirectional condenser transducer for nat-

ural sound.

• Extended frequency response for clear repro-

duction of speech, vocals, violin.

1 Precaution/Description

1.1 Precaution

1.2 Unpacking

1.3 Optional

Accessories

1.4 Features

1 C 417III 1 W 407 1 H 40/1 1 H 41

• MK 9/10 microphone cable: 10-m

(30-ft.) 2-conductor shielded cable

w/male and female XLR connectors

• MPA III L phantom power adapter

• B 29 L, B 15 battery power

supplies

• N 62 E, N 66 E,

B 18 phantom

power suppplies

1.5 Brief

Description

1.6 Versions

C 417III PP:

C 417III L:

C 417III PL:

• Fastens on clothing or directly on the user's

head.

The C 417III is a professional miniature condenser

clip-on microphone with an omnidirectional polar

pattern. With its wide frequency range extending

from 20 Hz to 20 kHz, low distortion at high sound

pressure levels, small size, and useful accesso-

ries, the C 417III is an ideal choice for use in any sit-

uation requiring an inconspicuous microphone

and maximum mobility for the user.

The microphone is available in two different colors

and will almost disappear when blended in with an

actor's or singer's makeup.

An external windscreen supplied with the micro-

phone reduces wind noise when using the micro-

phone on an open-air stage.

The C 417III is available in three versions:

• With 3-pin XLR connector with integrated ad-

apter for 9 to 52 V universal phantom power.

• With locking mini XLR connector for use with

the B 29 L battery power supply, MPA III L

phantom power adapter, or AKG bodypack

transmitters.

• Identical to the C 417III L, except with flesh-

color cable and microphone body.

1 Description

2.1 Introduction

Important!

2.2 C 417III PP

2.2.1 Connecting

to Balanced

Inputs

Refer to fig. 1.

2.2.2 Connecting

to Unbalanced

Inputs

Refer to fig. 2.

The C 417III is a condenser microphone and there-

fore needs a power supply.

Using any power supply other than those

recommended by AKG may damage your

microphone and will void the warranty.

1. Connect the phantom power adapter (1) on the

microphone cable to a balanced XLR micro-

phone input with phantom power.

2. Switch the phantom power on. (Refer to the in-

struction manual of the unit to which you

connected your microphone.)

3. If your mixer provides no phantom power:

Connect the phantom power adapter (1) to an

optional AKG phantom power supply (2) (N 62 E,

N 66 E, B 18, B 15) and use an XLR cable (3)

(e.g., an optional MK 9/10 from AKG) to connect

the phantom power supply to the desired balan-

ced input.

You may connect any AKG phantom power sup-

ply (2) to an unbalanced input, too.

Use a cable (3) with a female XLR connector and

TS jack plug:

2 Interfacing

XLR

Phantom

XLR

Fig. 1: Connecting to a balanced input.

Note:

2.3 C 417III L/PL

2.3.1 Using the

Optional B 29 L

Refer to fig. 3.

Connecting the

cable:

Disconnecting

the cable:

1. On the XLR connector (4), add a wire bridge to

connect pin 1 to pin 3 and the cable shield.

2. Connect the inside wire of the cable to pin 2

on the XLR connector (4) and the tip contact

of the jack plug (5).

Unbalanced cables may pick up interference

from stray magnetic fields near power or lighting

cables, electric motors, etc. like an antenna.

This may introduce hum or similar noise when

you use a cable that is longer than 16 feet (5 m).

The optional B 29 L battery supply allows you to

connect the microphone to balanced or un-

balanced inputs with no phantom power.

1. Push the mini XLR connector (1) on the micro-

phone cable into one of the two mini XLR

sockets on the B 29 L (2) to the stop.

The connector will lock automatically.

To disconnect the cable, press the unlocking

button on the mini XLR connector (1) and pull

the connector (1) out of the socket.

2 Interfacing

XLR Phantom

Fig. 2: Connecting to an unbalanced input.

Important!

Refer to fig. 3.

Balanced input:

Unbalanced input:

2.3.2 Using the

MPA III L

Refer to fig. 4.

Disconnecting

the cable:

To avoid damaging the cable, never try to

pull out the cable itself!

2. Connect the B 29 L (2) to the desired input.

• Use a commercial XLR cable (3) to connect

the B 29 L (2) to a balanced input.

• Refer to section 2.2.2 above.

1. Push the mini XLR connector (1) on the micro-

phone cable into the mini XLR socket (2) on the

cable of the MPA III L (3) to the stop.

The connector will lock automatically.

Refer to section 2.3.1 above.

2. Connect the MPA III L (3) to a balanced XLR

microphone input with phantom power.

3. Switch the phantom power on. (Refer to the in-

struction manual of the unit to which you

connected your microphone.)

2 Interfacing

B 29 L

Fig. 3: Using the B 29 L to power the microphone.

Refer to fig. 4.

2.3.3 Connecting

to a Bodypack

Transmitter

4. If your mixer provides no phantom power:

Connect the MPA III L (3) to an optional AKG

phantom power supply (4) (N 62 E, N 66 E, B 18,

B 15) and use an XLR cable (5) (e.g., an optional

MK 9/10 from AKG) to connect the phantom

power supply (4) to the desired balanced input.

Refer to the manual of your bodypack transmitter.

2 Interfacing

Mini XLR Mini XLR MPA

MPA

Phantom

123

Fig. 4: Connection diagram with MPA III L.

3.1 Introduction

3.2 Lavalier

Miking

Fig. 5: Fixing the

microphone on the

clip (a) or tie pin (b).

Fig. 6: Attaching

the microphone

near the user's

mouth.

The principal benefit of a microphone attached to

the user's clothes or integrated in their makeup is

that the microphone will maintain a constant

working distance independently of the user's mo-

vements and thus ensure a constant output level.

Also, a clip-on microphone allows the user to

move about freely and keeps their hands free.

1. Insert the cable into one of the fixing grooves

on the supplied H 40/1 clip (se fig. 5a) or on the

supplied H 41 tie pin (see fig. 5b), at a point im-

mediately behind the microphone body.

2. Attach the microphone to the talker's clothes,

e.g., on the lapel, placing it as close as possi-

ble to the talker's mouth.

3 Using Your Microphone

min.

a b

Note:

3.3 Live

Recording and

Spot Miking

3.4 Theater,

Musical, Opera

Fig. 7: Microphone

integrated in per-

former's makeup.

The smaller the distance between the micro-

phone and the sound source, the higher the

usable gain before feedback.

1. Insert the cable into one of the fixing grooves

on the supplied H 40/1 clip (se fig. 5a) or on the

supplied H 41 tie pin (see fig. 5b).

2. Fix the microphone on a suitable part of the

stage decoration such as a flat, backdrop, cur-

tain, etc.

Fix the microphone on the user's head, as close

as possible to the mouth, and blend it in with the

makeup.

Many engineers place the microphone as shown

in fig. 7.

Depending on the requirements of the production

at hand, you may also attach the microphone in

different places, e.g., on the performer's forehead.

3 Using Your Microphone

3.5 Violin

Fig. 8: Miking up a

violin.

Refer to fig. 8.

If the production concept does not allow for

microphones mounted on the the violin itself, you

can attach the microphone with mastic to the violi-

nist's cheek.

This method provides the following benefits:

• Since the microphone is not mounted on the

violin itself, it will not affect the sound of the in-

strument.

• There will be no risk of damaging the violin with

adhesive tape or similar mounting materials.

• There will be no cable that gets in the way.

To clean the microphone case, use a soft cloth

moistened with water.

3 Using Your Microphone

4 Cleaning

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