Review

Two different versions of the D7 are
available: the standard D7, which sports
a matte gray-blue fi nish, and the D7 LTD,
which features a bright chrome-plated case
to “satisfy special aesthetic requirements”
as AKG’s documentation states. Although I
did not evaluate the latter version, the im-
ages of it that are available on AKG’s web-
site make it abundantly clear that it does indeed satisfy those requirements—it’s
a beautiful mic. In addition to these two variations of the D7, a D7 capsule is
available for use with AKG’s WMS 4000 and WMS 4500 wireless systems.
AKG’s documentation touts several desirable characteristics, and I set out to
confi rm them—something I normally do when I evaluate products. The main
declarations the company makes about this microphone are that it exhibits refer-
ence quality, exceptionally high gain before feedback as a result of a frequency-
independent supercardioid polar pattern, improved vocal intelligibility resulting
from a built-in high-pass fi lter, minimized electrical interference resulting from
a humbucking coil, consistent performance from AKG’s Laminate Varimotion
diaphragm, ultralow p-pops resulting from a new inner windscreen, and a
reduction of handling and cable noise resulting from a mechanical-pneumatic
transducer shock mount.
I addressed the fi rst of these characteristics—that the microphone exhibits
reference quality—from a subjective standpoint, comparing the mic with similar
mics from other manufacturers. Indeed, the resolution of higher frequencies is
truly excellent, delivering a clean, intelligible signal. The published frequency
range is 70Hz to 20kHz, with an 80Hz high-pass fi lter to tame wind noise and
help keep plosives under control. The published frequency-versus-sensitivity
graph is generally quite fl at, with broad 1dB bumps centered around 250Hz and
1.8kHz, and a 2.5dB bump at about 9kHz. There is a slightly narrower bump
of about 2.5dB at 5kHz as well. The increased sensitivity at 1.8kHz and 5kHz
increases intelligibility, but not in an exaggerated way. I fi nd that with many
mics, I cut highs to avoid a fatiguing listening experience or even to avoid
feedback in the mains in certain applications. This mic does not require that
kind of equalization, and it provides a high degree of intelligibility. The broad
boost centered around 250Hz lends a nice warmth to the sound of the mic.
Overall, I agree with AKG’s claim that this is a reference-quality mic.
AKG’s second claim is that the mic exhibits exceptionally high gain before
feedback because of its frequency-independent supercardioid pattern. That
AKG managed a supercardioid pattern is not magical; this is not diffi cult. The
impressive feat is to maintain a consistent frequency curve throughout the
entirety of the pickup pattern, and AKG truly does accomplish this. Again, in
subjective listening tests, I found that within the supercardioid pattern, the fre-
quency curve was indeed remarkably consistent. To be sure, this supercardioid
is quite tight by design, but I was impressed with the consistency around the
various angles of approach. I was able to achieve some pretty substantial gain
before feedback, even with the mic quite close to the monitor loudspeaker. The
polar pattern is not so tight as to be performer-unfriendly, and it truly helps
to reject feedback.
I’ll address AKG’s claims of improved intelligibility from the mic’s 80Hz
high-pass fi lter and ultralow p-pops from an inner windscreen. Indeed, the
80Hz high-pass fi lter focuses the microphone’s output in the range of frequen-
cies important to transducing the human voice. If you have a contrabass, you
might choose a different mic, but AKG intends this mic for the vast majority
of speakers and singers, and they simply don’t produce any important energy
below 80Hz. As to the reduction of p-pops by the mic’s internal foam wind-
screen, it’s as good as can be expected in a supercardioid dynamic mic of this
type, which will inherently exaggerate plosives. This is no small feat, and I’m
impressed that this mic nearly eliminates major thumps and bumps without
additional suppression of low frequencies via equalization.
As to minimized electrical interference due to the humbucking coil, I sim-
ply heard no hum or other RF noise whatsoever, and this mic is quiet in terms
of self-noise as well. AKG’s Laminate
Varimotion diaphragm, to which I’ve had
a bit of previous exposure, does indeed
provide consistent performance. Finally,
the pneumatic-mechanical interior shock
mount that isolates the microphone ele-
ment is effective and nearly eliminates
handling and cable noise. A handheld
microphone must reject handling noise,
and AKG clearly considered this and
acted accordingly.
The bottom line is I really like the
clarity and resolution of this mic, and I’m
also impressed with the warmth and full-
ness it exhibits. The AKG D7 is a top-shelf
handheld microphone, and I can strongly
recommend it for applications that require
a superior mic.
John McJunkin is the principal of Avalon Podcasting in
Chandler, Ariz. He has consulted in the development of
studios and installations, and he provides high-quality
podcast-production services.
The polar pattern is not so tight as to
be performer-unfriendly, and it truly
helps to reject feedback.
•
Company: AKG
www.akg.com
•
Product: D7
•
Pros: Consistent frequency response
throughout polar pattern.
•
Cons: Metal surface a bit slippery for
handling.
•
Applications: Spoken or singing vocals
requiring a handheld mic.
•
Price: $249 (D7); $299 (D7 LTD)
•
Polar pattern: Supercardioid
•
Frequency range: 70Hz-20kHz
•
Sensitivity: 2.6mV/Pa (-52dBV)
•
Maximum SPL: 147dB/156dB (1%/3% THD)
•
Equivalent noise level: 18dBA
(IEC 60268-4)
•
Signal-to-noise ratio: 76dB (A-weighted)
•
Impedance: ≤600⍀
•
Recommended load impedance: ≥2000⍀
•
High-pass fi lter: 80Hz, always active
•
Connector: 3-pin XLR
•
Dimensions: 7.3”x2” (LxD)
•
Weight: 12oz.
•
Special features: Integrated
humbucking coil
Copyright © 2009 by Penton Media, Inc.
Visit our websites at: www.harman.com and www.akg.com
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