User manual AKG C 535 EB

[. . . ] Use a small screwdriver or similar object to adjust the desired switch position. The switch offers four different positions: 0 dB ­ 0 dB concenser microphone output level (7 mV/Pa), flat, overload limit: 130 dB SPL. Consenser microphone output level (as above) with bass-cut filter below 100 Hz slope: 12 dB/octave. Applications: recording high sound level instruments, or prevention of overloading of mixer or amplifier inputs which are adjusted for dynamic microphones. [. . . ] Thus, the microphone may be connected to such devices as are designed to accept dynamic microphones. A so-called low-cut filter serves to reduce low frequency noise (like rumble, floor noise etc. A rolloff filter compensates the proximity effect (low frequency boost when the microphone is closer than one foot to the sound source) typically experienced with single diaphragm systems. the elastic suspension of the microphone system eliminates unwanted handling noise. The built-in wind and pop screen inside the wiremesh front grille will suppress particularly accentuated explosives to such an extent as to avoid overloading the sound system in the low frequency region. Practice and experiment to find out how to use this high quality sound transducer to the best effect. Find out how you can actively change the sound by singing directly into the microphone or to the side of it, by holding it close to your mouth or a bit farther away and practice to create your own sound!Therefore, it is necessary in many cases to boost effectively the loudness of this instrument in relation to other instruments. Microphone placement depends primarily on the kind of guitar played and the playing technique used. Direct the C 535 EB toward a point on an imaginary line through the bridge, on the lower half of the body. Working distance should be about 8 inches depending, however, on the playing technique employed by the musician. changing microphone orientation and/or distance will change the tone reproduced. Since it is necessary to place the microphone close to the instrument, the bass response will be exaggerated. This proximity effect may be compensated for by setting the mode switch to ­14 dB . bass boost may also be avoided by directing the C 535 EB toward fret no. Steel-string guitars with built-in pickups inevitably produce a rather flat tone because magnetic pickups work well only in the midrange. Because of the radiation characteristics of acoustic guitars ­ high frequency components are radiated by the strings themselves, low frequencies being radiated through the sound hole ­ a well-balanced sound can be achieved by using an additional microphone. The flat frequency response with a slight treble boost of approximately 2 dB is ideal for reproducing the sound spectrum of this instrument. Frequency components between 800 Hz and 3 kHz are radiated exclusively from the keys. In order to attain a well-balanced tone, mount the C 535 EB on a floor stand (e. [. . . ] Reduce the microphone level via the mode switch (position ­14 dB flat), in order to prevent microphone overloading and distortion during passages of wide dynamic range. These standards specify a positive voltage of 12, 24 or 48 volts on the audio lines versus the cable shield. Phantom powering with unbalanced inputs If only single ended (grounded) amplifier inputs or no input transformers are available, either capacitors or optional transformers must be wired into the audio lines to prevent leakage currents from entering the input stage. At 1, 000 Hz into 600-ohm load): with ­14 dB attenuation: Climatic Conditions: Supply Voltage: Current Consumption: Connector Type: Housing Material: Finish: Dimensions: Net Weight: Shipping Weight: Included Accessories: Optional Accessories: 1 mA 3-pin male standard XLR pin 1: ground, pin 2: audio inphase, pin 3: audio zinc alloy matte black head diameter: 46 mm (1 13/16 inch), length: 184 mm (7 1/4 inch) 300 grams (10. [. . . ]