AKG C 535 EB User manual

Bedienungshinweise
User Instructions
Mode d’emploi
Istruzioni per l’uso
Modo de empleo
C 535 EB

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Description:
The C 535 EB cardioid condenser microphone was designed especially
for professional vocal and instrumental work both on the stage and in
the studio.
The C 535 EB has proven to be ideally suited for all situations placing
high demands on the sound quality and the robustness of a micro-
phone. The superior design of the microphone, tailored strictly to the
requirements of the music scene, offers to the user a number of advan-
tages, including an extended frequency range, negligible distortion
even at high sound pressure levels, insensitivity to structure-borne
noise, trouble-free operation even in extreme temperatures and humid-
ity, and robust construction. Its weight being evenly distributed over its
compact size, the microphone does not in any way encumber the user –
mainly the vocalist – when working with it.
The high quality condenser transducer is screwed into an elastic
suspension element. This arrangement effectively prevents handling
and cable noise from being transmitted. The excellent transient
response of the microphone results from the use of extremely thin
diaphragm materials which made it possible to reduce moving masses
to about 2 milligrams. The result is brilliant, transparent, and faithful
reproduction of voices and instruments.
The sturdy steel wire-mesh front grille will take the kind of punishment
the microphone receives during stage work and protects the transducer
against mechanical damage. An additional foam lining will suppress
pop noise and wind noise created by wind instruments.
A built-in mode switch enables you to adapt the microphone’s fre-
quency response and sensitivity to a variety of recording situations.
As a safeguard against unintentional activation, the switch is re-
cessed in the microphone shaft. Use a small screwdriver or similar
object to adjust the desired switch
position.
The switch offers four different positions:
0 dB – concenser microphone output
level (7 mV/Pa), flat, overload
limit: 130 dB SPL.
0 dB consenser microphone output
level (as above) with bass-cut
filter below 100 Hz slope:
12 dB/octave.
Applications: mainly instrumen-
tal recordings, for reducing
unwanted low frequency struc-
ture-borne noise.

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–14 dB – attenuation of –14 dB, dynamic microphone output level,
flat, overload limit: 144 dB SPL.
Applications: recording high sound level instruments, or pre-
vention of overloading of mixer or amplifier inputs which are
adjusted for dynamic microphones.
–14 dB preattenuation of –14 dB (as above) with additional bass
rolloff filter below 500, slope: 4 dB/octave.
Applications: as above, mainly vocalist, but also instrumen-
tal recording, close-in miking in situations requiring effective
suppression of proximity effect.
The die-cast zinc alloy housing contains the preamplifier, d.c. voltage
regulator circuit, impedance converter, output transformer, and the
3-pin standard XLR connector (male).
Wiring: balanced, ungrounded.
The surface of the C 535 EB is matte black; therefore, the microphone
is highly inconspicuous which is a particular advantage in television
and stage work. Strong spotlights will not cause irritating light
reflections.
The C 535 EB is designed for external universal phantom powering
(9 … 52 volts, according to DIN 45596) and may be fed from mixers,
tape recorders, battery, or mains operated power supply units. Current
consumption is lower than 1 mA.
Your C 535 EB carries its individual serial number and is packed in a
solid case lined with a soft foam material, complete with a “Quick
Release” stand adapter (SA 41/1).

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Applications:
We developed the C 535 EB to meet the musician’s demands. Record-
ing fine vocal or instrumental music, the professional’s search for bril-
liant, transparent sound, pianissimo passages coming through as
clearly as fortissimo passages do, expected pop noise problems with
vocalists or wind noise from wind instruments: this is what the
C 535 EB is really made for. On the basis of extensive testing done in
cooperation with many fine musicians, on stages as well as in many
studios, we recommend the C 535 EB particularly for the following ap-
plications.
Vocals Instruments
Soloist Acoustic Guitar
Choir Clarinet
Flute
Trumpet
Trombone
HiHat
Cymbals
Snare
Vocals
In terms of sound generation, the human voice is a highly complex
sound source. Our ears are, in a way, “trained” to recognize voices and
are capable of detecting even minute deviations of timbre. Sounds
generated by the human voice can be categorized as sibilants
containing very high frequency components, explosives causing wind
and pop noise, and vowels determining the timbre of a voice by certain
formants (predominant frequency bands). The compass of the human
voice extends from about 90 Hz to around 10 kHz (including fundamen-
tals and harmonics).
The reason why the C 535 EB is particularly suited for vocalist use is
that it is the first condenser microphone to offer the required robustness
and insensitivity to exication by structure-borne noise. Another impor-
tant feature is the four-position mode switch recessed in the micro-
phone shaft. It allows the user to adjust the microphone to the specific
situation.
1. The sensitivity may be changed from about 7 mV/Pa, which is typical
of condenser microphones, to a value 14 dB lower (about 1/5th).
Thus, the microphone may be connected to such devices as are
designed to accept dynamic microphones.

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2. A so-called low-cut filter serves to reduce low frequency noise
(like rumble, floor noise etc.) below 100 Hz with a slope of about
12 dB/octave.
3. 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!
Acoustic Guitar
The sound of the acoustic guitar is very weak. 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.
Gut and nylon strings produce few harmonics. Bass is radiated mainly
through the sound hole, treble by the top. Direct the C 535 EB toward a
point on an imaginary line through the bridge, on the lower half of the
body. Steel strings produce more overtones than gut or nylon strings.
Direct the C 535 EB toward the sound hole rather than the top. 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. 14, approximately where the neck joints the body.
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.

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Clarinet
The C 535 EB is perfectly suited for miking up the clarinet. The flat fre-
quency 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. At higher frequencies, radiation shifts toward the bell. Fre-
quencies above 5 kHz are radiated through the bell only. In order to
attain a well-balanced tone, mount the C 535 EB on a floor stand
(e.g. AKG St 200) and aim it at the conical portion of the clarinet,
directing it roughly toward the lowest key.
Flute
Most of the flute sound is radiated in the blowing direction of the player.
With frequencies higher than 3 kHz, preferred radiation shifts to the
right, toward the end of the flute body. When miking up the flute, the
position of the microphone depends primarily on which kind of music is
performed. Depending on the desired tone color, the C 535 EB may be
placed one to two inches, or 4 to 8 inches in front of the performer’s
lips. It is advisable to blow to the side of the microphone, in order to
avoid excessive wind noise. With extremely short working distances, it
is best to blow below the microphone.
During the actual performance, the position of the player’s lips relative
to the microphone should, if possible, remain unchanged. If it is
necessary to capture the high frequency components above 3 kHz,
too, use an additional microphone, e.g. an AKG D 224 two-way
microphone.
Trumpet
As opposed to other instruments, microphone placement for trumpets
is easy because of the instrument’s radiation pattern: up to about
500 Hz the sound is evenly distributed in all directions. Midrange fre-
quencies are radiated through the bell over a large angle in the playing
direction, the angle narrowing with rising frequency. Above 5 kHz the
radiation angle is about 30°. Mount the C 535 EB on a floor stand and
place it one to two feet away from the instrument, at an acute angle with
it. Thus, the trumpet player will not blow directly into the microphone so
as to avoid wind noise, above all at high sound levels.
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.

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Powering Technique:
The AKG C 535 EB has been designed for phantom powering accord-
ing to DIN 45596. These standards specify a positive voltage of 12, 24
or 48 volts on the audio lines versus the cable shield.
Connection diagrams for balanced inputs:
Input circuitry incorporating transformer with center tap (ungrounded).
Input circuitry incorporating transformer without center tap
(ungrounded).

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The resistors 2 x Rv must have a tolerance not exceeding 0.5 % in order
to satisfy the symmetry requirement.
Standardized values for Rv and 2 x Rv:
+ UB Rv 2 x Rv
12 V ± 2 V 680 ohms 330 ohms
24 V ± 4 V 1200 ohms 680 ohms
48 V ± 4 V 3300 ohms 6800 ohms
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.
Specifications:
Transducer Principle: condenser transducer, prepolarized
Polar Pattern: cardioid
Frequency Range: 20 … 20,000 Hz ±3 dB
from published curve
Sensitivity at 1,000 Hz: 7 mV/PaⳎ–0.7 mV/µbar
(–63 dBV, re 1 µbar)
Electrical Impedance: 200 ohms, ±20 % balanced
Recommended Load Impedance:  600 ohms
Hum Sensitivity (at 50 Hz): 4 µV/5 µT
Equivalent Noise Level acc. to
DIN 45412 (A-weighted): 21 dB-A

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Maximum Sound Pressure
(for 1 % T.H.D. at 1,000 Hz
into 600-ohm load): 80 PaⳎ130 dBSPL
with –14 dB attenuation: 400 PaⳎ144 dBSPL
Climatic Conditions: temperature range: –20° C … +60° C
rel. humidity at 20° C: 99 %
Supply Voltage: 9 … 52 V (acc. to DIN 45596)
Current Consumption: approx. 1 mA
Connector Type: 3-pin male standard XLR
pin 1: ground, pin 2: audio inphase,
pin 3: audio
Housing Material: zinc alloy
Finish: matte black
Dimensions: head diameter: 46 mm (1 13/16 inch),
length: 184 mm (7 1/4 inch)
Net Weight: 300 grams (10.6 oz.)
Shipping Weight: 800 grams (1.7 lb.)
Included Accessories: SA 41/1 stand adapter
Optional Accessories: W 23 pop/windscreen
N 62 E two-channel
mains power supply unit
N 66 E six-channel
mains power supply unit
B 18 battery power supply unit
This product conforms to EN 50 082-1.
Dimensional Drawing:

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Circuit Diagram:
Frequency Response:

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Cleaning:
All metal surfaces may be safely cleaned from time to time with (methyl-
ated) spirits or alcohol.
Servicing:
Transducer replacement is simply and does not require any tools.
1) Unscrew front grille counter-clockwise; the knurled screw base of the
elastic suspension with the built-in transducer is now visible.
2) Hold knurled screw base of elastic suspension firmly; unscrew trans-
ducer by turning brass ring of system counter-clockwise.
3) To install new transducer, follow above instructions in reverse order.
Note:
Do not attempt to remove the elastic suspension from the microphone
housing while replacing the transducer.

Printed in Austria on recycled paper. 3/00/9100 U 0799
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 à mudanças sem aviso prévio. Mikrofone · Kopfhörer · Drahtlosmikrofone · Drahtloskopfhörer · Kopfsprechgarnituren · Akustische Komponenten Microphones · Headphones · Wireless Microphones · Wireless Headphones · Headsets · Electroacoustical Components Microphones · Casques HiFi · Microphones sans fil · Casques sans fil · Micros-casques · Composants acoustiques Microfoni · Cuffie HiFi · Microfoni senza filo · Cuffie senza filo · Cuffie-microfono · Componenti acustici Micrófonos · Auriculares · Micrófonos inalámbricos · Auriculares inalámbricos · Auriculares con micrófono · Componentes acústicos Microfones · Fones de ouvido · Microfones s/fios · Fones de ouvido s/fios · Microfones de Cabeça · Componentes Acústicos
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