user manual - Warehouse Sound Systems
Contents
1. 21 5 Troubleshooting 22 Problem No sound Distortion Possible Cause Power to mixer and or amplifier is off Channel or master fader on mixer or volume control on amplifier is at zero Microphone is not connected to mix er or amplifier Cable connectors are seated loosely Cable is defective No supply voltage Gain control on the mixer set too high Mixer input sensi tivity too high Remedy Switch power to mixer or amplifier on Set channel or master fader on mixer or volume control on ampli fier to desired level Connect micro phone to mixer or amplifier Check cable connectors for se cure seat Check cable and re place if damaged Switch phantom power on Phantom power supply connect to power outlet or in sert battery batteries Check cable and re place if necessary Turn gain control down CCW Connect a 10 dB preattenuation pad between microphone cable and input 6 Specifications Type Polar pattern Frequency range pre polarized condenser microphone omnidirectional 20 Hz to 20 000 Hz Sensitivity at 1 kHz Impedance Recommended load impedance 10 mV Pa 40 dBV re 1 V Pa 200 2000 Max SPL for 1 3 THD Equivalent noise level Power requirement 118 126 dB SPL 34 dB A to IEC 60268 4 C 417 PP 9 to 52 V universal2. 1 4 Features 13 1 Description 14 1 5 Brief Description 1 6 Versions C 417 PP C 417 L C 417 PL e Fastens on clothing or directly on the user s head The C 417 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 417 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 417 is available in three versions e With 3 pin XLR connector with integrated ad apter for 9 to 52 V universal phantom power e With locking mini XLR connector for use with the B 29 L battery power supply MPA Ill L phantom power adapter or AKG bodypack transmitters e Identical to the C 417 L except with flesh color cable and microphone body HAHA UL 2 Interfacing The C 417 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 t
3. 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 a 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 Fig 3 Using the B 29 L to power the microphone To avoid damaging the cable never try to pull out the cable itself Connect the B 29 L 2 to the desired input e Use acommercial XLR cable 3 to connect the B 29 L 2 to a balanced input e Refer to section 2 2 2 above 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 Connect the MPA III L 8 to a balanced XLR microphone input with phantom power Switch the phantom power on Refer to the in struction manual of the unit to which you connected your microphone Important Refer to fig 3 Balanced input Unbalanced input 2 3 2 Using the MPA III L Refer to fig 4 Disconnecting the cable LZ IH i 2 Interfacing Fig 4 Connection di
4. MicroMic THE ORIGINAL C 4171 BEDIENUNGSHINWEISE S 2 Bitte vor Inbetriebnahme des Ger tes lesen USER INSTRUCTIONS p 13 Please read the manual before using the equipment MODE D EMPLOl p 24 Veuillez lire cette notice avant d utiliser le syst me 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 INSTRUGOES DE USO p 57 Favor leia este manual antes de usar 0 equipamento 1 Precaution Description 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 10417 1W407 1H40 1 1H41 Check that the packaging contains all of the com ponents listed above Should anything be miss ing please contact your AKG dealer MK 9 10 microphone cable 10 m 30 ft 2 conductor shielded cable w male and female XLR connectors MPA Ill L phantom power adapter B 29 L B 15 battery power supplies N 62 E N 66 E B 18 phantom power suppplies e Professional miniature clip on microphone e Omnidirectional condenser transducer for nat ural sound e Extended frequency response for clear repro duction of speech vocals violin 1 1 Precaution 1 2 Unpacking 1 3 Optional Accessories
5. agram with MPA III L Refer to fig 4 4 If your mixer provides no phantom power 2 3 3 Connecting to a Bodypack Transmitter 18 Connect the MPA III L 3 to an optional AKG phantom power supply 4 N 62 E N66 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 3 Using Your Microphone Ro 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 l u gt ae za 3 v jl ww t x P p s t a 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 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 19 3 Using Your Microphone Note 3 3 Live Recording and Spot Mi
6. he microphone cable to a balanced XLR micro phone input with phantom power Switch the phantom power on Refer to the in struction manual of the unit to which you connected your microphone 2 1 Introduction Important 2 2 C 417 PP 2 2 1 Connecting to Balanced Inputs Refer to fig 1 Fig 1 Connecting to a balanced input 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 Refer to fig 1 2 2 2 Connecting to Unbalanced Inputs Refer to fig 2 15 Fig 2 Connecting to an unbalanced input Note 2 3 C 417 w L PL 2 3 1 Using the Optional B 29 L Refer to fig 3 Connecting the cable Disconnecting the cable 16 1 2 On the XLR connector 4 add a wire bridge to connect pin 1 to pin 3 and the cable shield 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
7. king 3 4 Theater Musical Opera Fig 7 Microphone integrated in per former s makeup 20 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 l 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 Ro 3 5 Violin Fig 8 Miking up a violin If the production concept does not allow for Refer to fig 8 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 e Since the microphone is not mounted on the violin itself it will not affect the sound of the in strument e There will be no risk of damaging the violin with adhesive tape or similar mounting materials e There will be no cable that gets in the way 4 Cleaning To clean the microphone case use a soft cloth moistened with water
8. phantom power C 417 L PL B 29 L battery power supply MPA III L phantom adapter or AKG WMS bodypack transmitters Current consumption Cable length Connector Finish Size approx 2 2 mA C 417 PP 3 m 10 ft 3 pin male XLR C 417 L PL 1 5 m 5 ft 3 pin mini XLR matte black PP L or flesh color PL 7 5 x 15 mm 0 3 x 0 6 in Net shipping weight C 417lll PP 8 g 0 3 oz 220 g 7 8 oz C 417 L PL 8 g 0 3 oz 160 g 5 6 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 Frequency Response Polar Diagram 23
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