AKG.EMOTION D 770 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 . . . . . . . . .
1 Precaution/Description 1.1 Precaution 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. 1.2 Unpacking 1 D 770 1 SA 44 Check that the packaging contains all of the components listed above. Should anything be missing, please contact your AKG dealer. 16 1.3 Optional Accessories • MK 9/10 microphone cable: 10 m (30 ft.
1 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.
2 Wiring 2.1 Circuit Diagram Fig. 1: Microphone circuit diagram. 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. 2.2 Connecting the Microphone to a Balanced Input 1. Use a commercial XLR cable such as the optional MK 9/10 from AKG. The length of these cables does not affect audio quality. Fig. 2: Using a balanced connecting cable. 2.
2 Wiring 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.
3 Using Your Microphone The best way to get the "right" sound is to experiment with microphone placement. The following sections contain useful suggestions. 3.1 Proximity Effect 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 working distance. 3.
3 Using Your Microphone 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 effect may cause feedback. In this case, it is often enough to move away from the microphone a little to stop the feedback. 3.
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 instrument. 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.
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: Microphone 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.
3 Using Your Microphone 3.7 Guitar Amp Fig. 9: Microhone placement for a guitar amp. Loudspeakers radiate high frequencies within a very narrow angle. Place the microphone about 2 to 6 inches in front of the loudspeaker diaphragm and aim the microphone at the center of the diaphragm. 3.8 Tom-toms, Roto Toms, Snare Drum Fig. 10: Microhone placement for tomtoms. 1. To prevent the top head from ringing excessively, use adhesive tape to fix a strip of felt or a Kleenex to the skin in an off-center position.
3 Using Your Microphone 2. Place one D 770 about 2 to 4 inches from the head of each tom. 3. Align the microphone with the perimeter of the top head. 3.9 Backing Vocals Fig. 11: Microphone placement for backing vocals. 1. Never let more than two persons share a microphone. 2. Ask your backing vocalists never to sing more than 35 degrees off the microphone axis. The microphone is very insensitive to off-axis sounds.
5 Troubleshooting Problem No sound: Possible Cause Remedy 1. Power to mixer 1. Switch power to and/or amplifier is mixer or amplifier off. on. 2. Channel or master 2. Set channel or fader on mixer, or master fader on volume control on mixer or volume amplifier is at zero. control on amplifier to desired level. 3. Microphone is not 3. Connect microconnected to phone to mixer or mixer or amplifier. amplifier. 4. Cable connectors 4. Check cable are seated loosely. connectors for secure seat. 5.
6 Specifications Type: Polar pattern: Frequency range: Sensitivity at 1000 Hz: Electrical impedance at 1000 Hz: Recommended load impedance: Max. SPL for 1 % / 3 % THD: Equivalent noise level: Environment: Connector: Connector pinout: Case material: Finish: Size: Net/shipping weight: dynamic pressure gradient microphone cardioid 60 to 20,000 Hz; 20 to 20,000 Hz at 1 cm 2.5 mV/Pa (–52 dBV re 1 V/Pa) ≤600 Ω ≥2000 Ω 147 dB SPL / 156 dB SPL 22 dB (A) (DIN 45412) temperature: –10°C to +60°C rel.
AKG.EMOTION The Moffatts B*Witched D 660 S D 880 D 880 S D 440 D 550 D 770 Printed in Austria on recycled paper. For other distributors worldwide see our website: http://www.akg-acoustics.com 1449 Donelson Pike, Nashville, TN 37217, U.S.A., Tel: (615) 360-0499, Fax: (615) 360-0275, http://www.akgonline.com, e-mail: akgusa@harman.com AKG ACOUSTICS, U.S. Bodenseestraße 228, D-81243 München/GERMANY, Tel: (089) 87 16-0, Fax: (089) 87 16-200, http://www.akg-acoustics.de, e-mail: info@akg-acoustics.
