bedienungsanleitung . . . . . . . . . .s. 2

bedienungsanleitung . . . . . . . . . .s. 2
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BEDIENUNGSANLEITUNG
. . . . . . . . . .
Bitte vor Inbetriebnahme des Gerätes lesen!
USER INSTRUCTIONS
. . . . . . . . . . . . . . .
Please read the manual before using the equipment!
MODE D’EMPLOI
. . . . . . . . . . . . . . . . . . . . .
Veuillez lire cette notice avant d’utiliser le système!
S. 2
p. 16
p. 30
ISTRUZIONI PER L’USO . . . . . . . . . . . . . p. 44
Prima di utilizzare l’apparecchio, leggere il manuale!
MODO DE EMPLEO . . . . . . . . . . . . . . . . . . . p. 58
¡Sirvase leer el manual antes de utilizar el equipo!
INSTRUÇÕES DE USO
. . . . . . . . . . . . . . .
Favor leia este manual antes de usar o equipamento!
S. 72
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Table of Contents
Page
Safety ..................................................................................................................17
1 Description..........................................................................................................17
1.0 Introduction ................................................................................................17
1.1 Packing List ................................................................................................17
1.2 Optional Accessories ...................................................................................17
1.3 Brief Description..........................................................................................17
1.4 Controls......................................................................................................18
2 Powering .............................................................................................................19
3 Using the Microphone .........................................................................................20
3.1 Introduction ................................................................................................20
3.2 Bass Cut Filters ...........................................................................................20
3.3 Preattenuation Pads ....................................................................................20
3.4 Stand Mounting...........................................................................................20
3.5 Hints on Microphnone Placement..................................................................20
3.5.1 Lead Vocals........................................................................................21
3.5.2 Choir/Backing Vocals ..........................................................................22
3.5.3 Violin, Viola.........................................................................................22
3.5.4 Double Bass, Cello..............................................................................23
3.5.5 Acoustic Guitar ...................................................................................23
3.5.6 Flute..................................................................................................24
3.5.7 Clarinet..............................................................................................24
3.5.8 Tenor/Soprano Saxophone...................................................................24
3.5.9 Trumpet/Trombone .............................................................................25
3.5.10 Grand and Upright Pianos..................................................................25
3.5.11 Electric Guitar/Bass ..........................................................................26
3.5.12 Drums .............................................................................................26
4 Cleaning ..............................................................................................................27
4.1 Microphone ................................................................................................27
4.2 Windscreen ................................................................................................27
5 Specifications .....................................................................................................28
16
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Safety
• 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.
L
!
L
1 Description
Thank you for purchasing an AKG product. This Manual contains important instructions for setting up and operating your equipment. Please take a few minutes
to read the instructions below carefully before operating the equipment.
Please keep the Manual for future reference. Have fun and impress your audience!
1.0 Introduction
•
•
•
•
1.1 Packing List
C 214 microphone
H 85 shock mount
W 214 foam windscreen
High quality carrying case for microphone and standard accessories
• Check that the packaging contains all of the components listed above. Should
anything be missing, please contact your AKG dealer.
•
For optional accessories, refer to the current AKG catalog or folder, or visit
www.akg.com. Your dealer will be glad to help.
This large-diaphragm condenser microphone has been designed on the basis of
feedback from sound engineers who have used the C 12, C 12 A, C 414 EB,
C 414 B-ULS, C 414 B-TL II, and C 414 XL II microphones in recording studios
around the world for years. Using hand-selected state-of-the-art, reliable components as well as advanced manufacturing processes, the C 214 meets the highest professional standards and will withstand severe handling in the recording
studio for many years.
The electronic circuitry of the microphone has been redesigned to achieve maximum dynamic range and a flat frequency response. Low self-noise and high headroom add up to a dynamic range of 143 dB (A-weighted).
The transducer element uses advanced backplate technology and a diaphragm
that is gold-sputtered on one side only to prevent local shorting to the back electrode even at extremely high sound pressure levels.
The all-metal body ensures efficient rejection of RF interference so you can use
the microphone near transmitter stations, along with wireless microphones or
other communications equipment.
C 214
1.2 Optional Accessories
1.3 Brief
Description
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1 Description
1.4 Controls
The C 214 provides selector switches for the preattenuation pad and bass cut
filter.
1 Preattenuation Selector
The selector switch on the left-hand side of the microphone (fig. 1) lets you increase the microphone's headroom by 20 dB for distortion-free recordings of very
loud sound sources or close to sound sources. The preattenuation pads prevent
the microphone's output level, particularly at low frequencies, from overloading
the miniature transformers used in mixer input stages, etc.
Fig. 1: Preattenuation selector.
2 Bass Cut Selector
Rumbling or wind noise may cause distortion at very low frequencies. The microphone's switchable bass cut filter (refer to fig. 2) further reduces low-end distortion. The filter slope is more than 6 dB/octave at 160 Hz and below. The bass cut
also minimizes the proximity effect that may arise when close-in miking from less
than 6 inches.
Fig. 2: Bass cut selector.
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2 Powering
The C 214 provides low self-noise (just 13 dB(A)!) yet high headroom. The microphone requires a phantom power source providing 12 to 52 V as per IEC 61938.
• Do not connect the microphone to any power supply other than a phantom power source (input with phantom power or external IEC standard
phantom power supply) with a floating connector, using a balanced cable
with studio grade connectors to IEC 268-12 only. This is the only way to
ensure safe and reliable operation.
C 214
!
L
Important!
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3 Using the Microphone
3.1 Introduction
The C 214 features a smooth frequency response similar to the typical sound of
AKG large-diaphragm microphones.
You can use the C 214 for most musical instruments in the studio and on stage
(see also section 3.5). With its cardioid polar pattern, the microphone will give excellent results in a multiplicity of recording situations, particularly, in close miking.
3.2 Bass Cut Filter
The selectable bass cut filter will effectively cancel out any unwanted noise such
as fan noise from air conditioning systems or low-frequency noise due to floor vibrations, handling noise, etc. without affecting the sound of the recorded voice or
instrument on tape.
3.3 Preattenuation Pad
The selectable 20-d B preattenuation pad allows you to increase the microphone's
headroom from 136 to 156 dB SPL. Remember to check that the equipment connected to the microphone (microphone preamp, mixer input, recorder input) can
handle the maximum output level of the microphone without causing distortion.
3.4 Stand Mounting
•
•
•
3.5 Hints on
Microphone Placement
Table 1: Recommended
applications.
20
The supplied H 85 shock mount has a standard 3/8" thread insert so you can
mount the microphone on almost every commercial stand or suspension with
a 3/8" thread.
To fix the shock mount on a stand with a 5/8" thread, remove the tread insert
and screw the shock mount directly on the stand.
To remove the shock mount from the microphone, rotate the bayonet-type
lock at the lower end of the shock mount CCW to the point that the shock
mount unlocks.
We recommend the C 214 for the following applications:
Sound source
Studio
Stage
Lead/solo vocals
••
Backing vocals/choir
••
Speech
••
Acoustic guitar
••
••
Electric guitar
••
••
••
Electric bass
•
•
Double bass
••
••
Violin
••
•
Cello
••
•
Zither
•
••
Grand piano (classical music)
••
••
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3 Using the Microphone
Sound source
Studio
Stage
Piano (rock & jazz)
••
••
Organ
••
•
Trumpet
••
••
Trombone
••
•
French horn
••
••
Tuba
••
•
Saxophone
••
••
Flute
••
••
Clarinet
••
••
Kick drum
••
•
Toms
•
•
Cymbals
••
••
Bongos, congas
••
••
Table 1 (cont’d)
• • First choice
• Good alternative
As an introduction to the "secret science of making good recordings", the following sections describe some proven miking techniques.
• Working distance: 6 to 12 in.
(15 to 30 cm)
• Bass cut: ON
• For best results, be sure to
use a pop screen, e.g. the
PF 80 from AKG. If no pop
screen is available, use at
least the supplied W 214
windscreen.
• To give the talent better
control of their own voice,
we recommend adding the
talent's track to their headphone monitor signal.
3.5.1 Lead Vocals
Fig. 3: Solo vocalist.
C 214
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3 Using the Microphone
3.5.2 Choir/
Backing Vocals
To mic up a large choir, we recommend using a pair of microphones plus one spot
microphone each for the soprano, alto, tenor, and bass sections.
In rooms with perfect acoustics, using just a pair of high quality microphones is a
proven way to get superb-sounding recordings.
Refer to section 3.5.1
Lead Vocals above
Backing vocals/technique 1: If enough tracks are available, we recommend
overdubbing each voice separately.
Backing vocals/technique 2:
If only one or two tracks are
available for backing vocals,
use one microphone each for
two or three vocalists maximum. Place the vocalists in a
semicircle in front of the microphone.
Fig. 4: Backing vocalists
sharing a single
microphone.
3.5.3 Violin, Viola
Solo violin:
Direct the microphone to the f
holes from a height of 6 to 8 feet
(1.8 to 2.5 m) above the floor.
Large string sections:
Use a combination of a pair of
microphones in an XY, ORTF, or
other stereo configuration and
close-in spot microphones.
Viola:
Direct the microphone to the f
holes from a height of 7 to 10 ft.
(2.2 to 3 m) above the floor.
Fig. 5: Violin.
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3 Using the Microphone
Double bass:
Align the microphone with one
of the f holes from a distance of
about 16 in. (40 cm). If you
need to record the double bass
together with an ensemble,
place the microphone closer to
the instrument to prevent leakage from other instruments into
the microphone.
3.5.4 Double Bass, Cello
Cello/technique 1:
Refer to "Double bass" above.
Cello/technique 2:
Use a close-in microphone as
in technique 1 above plus a distant microphone. Set the level
of the close-in microphone approx. 20 dB lower than the distant mic level.
Refer to fig. 7.
Place the microphone 20 to
40 in. (0.5 to 1 m) away from
the guitar and aim it obliquely
at a point between the sound
hole and neck.
Using two microphones gives
you even better control of the
sound. Point a C 214 at the
sound hole from a distance of
one to two feet (30 to 60 cm).
Place a small-diaphragm microphone (e.g., a C 451B) 20 to
40 in. (0.5 to 1 m) away from
the guitar and align it with a
point between the sound hole
and neck.
C 214
Fig. 6: Double bass.
3.5.5 Acoustic Guitar
Fig. 7: Miking an acoustic
guitar with a single C 214.
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3 Using the Microphone
We recommend using two microphones.
Place mic 1 above and to one
side of the player (to reduce
blowing noise) and align it with
the player's mouth, and aim
mic 2 at the instrument from
the side.
If you prefer to use a single microphone, place the microphone as mic 1 above at a
distance of about 7 to 8 1/2 ft.
(2 to 2.5 m) above the floor.
3.5.6 Flute
Fig. 8: Miking the flute
with a single microphone.
Point the microphone at the
lowest key. To minimize key
noise, place the microphone a
little ways to the side of the instrument.
3.5.7 Clarinet
Fig. 9: Clarinet.
3.7.8 Tenor and Soprano
Saxophones
a
Aim the microphone at the middle of the instrument from a
distance of about 2 to 3 1/2 ft.
(50 cm to 1 m).
b
Fig. 10: Tenor saxophone (a),
soprano saxophone (b).
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3 Using the Microphone
Place the microphone about
1 ft. (30 cm) in front of the instrument, slightly off the bell
axis. Switch in one of the preattenuation pads.
Using the supplied windscreen
will help reduce blowing noise.
a
3.5.9 Trumpet,
Trombone
b
Fig. 11: Trumpet (a),
trombone (b).
Grand piano:
Aim a single C 214 or an XY or
ORTF pair of C 214s at the
middle strings from a height
of 5 to 7 ft. (1.5 to 2 m).
For a rock/pop sound, place two
C 214s roughly 8 to 16 in. (20 to
40 cm) above the strings. Align
mic 1 with the treble strings and
mic 2 with the bass strings, both
at a point about 6 in. (15 cm) behind the dampers.
3.5.10 Grand and
Upright Pianos
Fig. 12: Grand piano.
Upright piano:
Use the same technique as for
the grand. Open the lid and
have the microphones "peek
into the instrument" from
above.
Fig. 13: Upright piano.
C 214
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3 Using the Microphone
3.5.11 Electric
Guitar/Bass
Fig. 14: Electric guitar.
3.5.12 Drums
Fig. 15: Typical drum kit.
Electric guitar:
Position the microphone 3 to
6 in. (8 to 15 cm) in front of the
speaker, aiming at a point off
the speaker diaphragm center.
Use the bass cut and a preattenuation pad. You may want to
use an additional distant microphone.
Electric bass:
Use the same technique as for
the electric guitar. You can use
a DI box to add the direct signal
of the line output on the bass
amp to the microphone signal.
Overhead miking:
Place two C 214s in an AB or
XY configuration about 2 3/4 to
4 ft. (80 to 120 cm) above the
drummer's head. This technique will pick up the entire kit,
delivering a highly natural sound.
Use little or no EQ!
Hanging and floor toms:
Use one microphone for each
tom or for every two toms,
aligning the microphone with
the rim of the top head. To reduce leakage from other instruments, attenuate the HF range
above 10 kHz using the channel EQ(s).
Kick drum:
• Be sure to switch the preattenuation pad in (-20 dB) because the kick drum
may produce extremely high sound pressure levels.
• Place the microphone right inside the shell.
For a dry, "click" type sound with lots of attack, position the microphone near
the head, at an angle of 45 degrees.
For a fatter sound, place the microphone closer to the front head or outside the
shell, up to 6 in. (15 cm) from the opening in the front head.
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4 Cleaning
• Use a soft cloth moistened with water to clean the surface of the microphone
body .
4.1 Microphone
• Wash the foam windscreen in soap suds. Do not use the windscreen before it
has dried completely.
4.2 Windscreen
C 214
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5 Specifications
Type:
Polar patterns:
Open-circuit sensitivity:
Frequency range:
Impedance:
Recommended load impedance:
Bass cut filter slope:
Preattenuation pad:
Equivalent noise level to IEC 60268-4 (A-weighted):
Signal/noise ratio re 1 Pa (A-weighted):
Max. SPL for 0.5% THD:
Dynamic range (A-weighted):
Environment:
Powering:
Current consumption:
Connector:
Dimensions:
Net weight:
1-inch large-diaphragm backplate pressure
gradient microphone
cardioid
20 mV/Pa (-34 dBV)
20 to 20,000 Hz (see frequency
response graphs)
≤ 200 ohms
≥ 1000 ohms
6 dB/octave at 160 Hz
0/-20 dB (switchable)
13 dB(A) (0 dB preattenuation)
81 dB
136/156 dB SPL (0/-20 dB)
123/143 dB (0/-20 dB)
temperature: -10°C to +60°C
R.H.: 95% (+20°C); 85% (+60°C)
12 to 52 V phantom power
to IEC 61938
< 2 mA
IEC standard 3-pin XLR
54 x 43 x 160 mm / 2.1 x 1.7 x 6.3 in.
290 g / 10.2 oz.
This product conforms to the standards listed in the Declaration of Conformity. To order a free copy of the Declaration of Conformity, visit http://www.akg.com or contact sales@akg.com.
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5 Specifications
Frequency Response
C 214
Polar Diagram
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AKG Acoustics GmbH
Lemböckgasse 21–25, A-1230 Vienna/AUSTRIA, phone: (+43-1) 86654-0*
e-mail: sales@akg.com
AKG Acoustics, U.S.
8400 Balboa Boulevard, Northridge, CA 91329, U.S.A, phone: (+1 818) 920-3212
e-mail: akgusa@harman.com
For other products and distributors worldwide visit www.akg.com
Technische Änderungen vorbehalten. Specifications subject to change without notice. Ces caractéristiques sont susceptibles de modifications.
Ci riserviamo il diritto di effettuare modifiche tecniche. Nos reservamos el derecho de introducir modificaciones técnicas. Especificações sujeitas
a mudanças sem aviso prévio.
Printed in Austria
04/08/9100 U 12400
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