AKG C411 Series User manual
2 BEDIENUNGSANLEITUNG
Vor Inbetriebnahme des Gerätes lesen!
18 USER INSTRUCTIONS
Read the manual before using the equipment!
34 MODE D’EMPLOI
Lire cette notice avant d’utiliser le système!
50 MODO DE EMPLEO
¡Consulte el manual antes de utilizar el equipo!
HIGH-PERFORMANCE MINIATURE
CONDENSER VIBRATION PICKUP
C411III (L, PP)
C411III MANUAL 19
C411III MANUAL18
1 SAFETY AND ENVIRONMENT 20
1.1 Environment 20
2 DESCRIPTION 21
2.1 Introduction 21
2.2 Package content 21
2.3 Optional Accessories 21
2.4 Features 22
2.5 Brief Description 22
2.6 Versions 22
3 INTERFACING 23
3.1 C411III PP 23
3.1.1 Connecting to Balanced Inputs 23
3.1.2 Connecting to Unbalanced Inputs 24
3.2 C411III L 24
3.2.1 Connecting to Balanced Inputs 25
3.2.2 Connecting to Unbalanced Inputs 25
3.2.3 Using the MPA V L 26
3.2.4 Connecting to a Bodypack Transmitter 26
4 USE 27
4.1 Introduction 27
4.2 Attaching the Pickup to the Instrument 27
4.3 Hints on Microphone Placement 29
5 TROUBLESHOOTING 30
6 CLEANING 31
7 TECHNICAL DATA 32
cONTENTS
Publisher AKG Acoustics GmbH
Laxenburger Straße 254
1230 Vienna
Austria
Tel: +43 (0)1 86654-0
Fax: +43 (0)1 86654-8800
AKG ACOUSTICS, U.S.
8500 Balboa Blvd. Dock 15
Northridge, CA 91329
U.S.A.
Tel: +1 818 920-3224
Copyright © 2015 AKG Acoustics GmbH
All rights reserved.
The information contained in this manual, including any drawings
and photos provided, are the intellectual property of AKG Acoustics
GmbH.
In accordance with copyright law, it is not permitted for this
documentation or parts thereof to be reproduced or transmitted for
any purpose in any form using any means, whether electronic or
mechanical, by photocopying, recording or using information storage
and information processing systems without the express, written
consent of AKG Acoustics GmbH. Forwarding to third parties is not
permitted. This manual should be returned to us on request.
Updates Dieses Manual kann ohne Vorankündigung geändert werden und
stellt keine Verpichtung seitens der Firma AKG Acoustics GmbH
dar.
Version 1.0
Publication
date
August 2015/EN
Printed in Hungary 08/15/5061962
LEgAL NOTIcE
C411III MANUAL 19
C411III MANUAL18
1 SAFETY AND ENVIRONMENT 20
1.1 Environment 20
2 DESCRIPTION 21
2.1 Introduction 21
2.2 Package content 21
2.3 Optional Accessories 21
2.4 Features 22
2.5 Brief Description 22
2.6 Versions 22
3 INTERFACING 23
3.1 C411III PP 23
3.1.1 Connecting to Balanced Inputs 23
3.1.2 Connecting to Unbalanced Inputs 24
3.2 C411III L 24
3.2.1 Connecting to Balanced Inputs 25
3.2.2 Connecting to Unbalanced Inputs 25
3.2.3 Using the MPA V L 26
3.2.4 Connecting to a Bodypack Transmitter 26
4 USE 27
4.1 Introduction 27
4.2 Attaching the Pickup to the Instrument 27
4.3 Hints on Microphone Placement 29
5 TROUBLESHOOTING 30
6 CLEANING 31
7 TECHNICAL DATA 32
cONTENTS
Publisher AKG Acoustics GmbH
Laxenburger Straße 254
1230 Vienna
Austria
Tel: +43 (0)1 86654-0
Fax: +43 (0)1 86654-8800
AKG ACOUSTICS, U.S.
8500 Balboa Blvd. Dock 15
Northridge, CA 91329
U.S.A.
Tel: +1 818 920-3224
Copyright © 2015 AKG Acoustics GmbH
All rights reserved.
The information contained in this manual, including any drawings
and photos provided, are the intellectual property of AKG Acoustics
GmbH.
In accordance with copyright law, it is not permitted for this
documentation or parts thereof to be reproduced or transmitted for
any purpose in any form using any means, whether electronic or
mechanical, by photocopying, recording or using information storage
and information processing systems without the express, written
consent of AKG Acoustics GmbH. Forwarding to third parties is not
permitted. This manual should be returned to us on request.
Updates Dieses Manual kann ohne Vorankündigung geändert werden und
stellt keine Verpichtung seitens der Firma AKG Acoustics GmbH
dar.
Version 1.0
Publication
date
August 2015/EN
Printed in Hungary 08/15/5061962
LEgAL NOTIcE
C411III MANUALC411III MANUAL20 21
SAFETy ANd ENvIRONMENT dEScRIPTION
1 Safety and environment
Risk of damage
Please make sure that the piece of equipment your microphone
will be connected to fullls the safety regulations in force in your
country and is tted with a ground lead.
1.1 Environment
• In case of scrapping the equipment, separate the housing,
electronics and cables and dispose all the components in
accordance with the appropriate waste disposal regulations.
• The packaging is recyclable. Dispose of the packaging via an
appropriate collection system provided for this purpose.
2 Description
2.1 Introduction
Thank you for your decision to buy an AKG product. Please read
the user instructions carefully, before using the unit and keep
them in a safe place so that you can refer to them in the future at
any time. We wish you a lot of fun!
2.2 Package content
• C411III PP or C411III L
• Adhesive compound
• Microphone bag
Check that the package contains all the parts given above. If
anything is missing, please contact your AKG dealer.
2.3 Optional Accessories
• MPA V L: phantom power adapter (for C411III L)
• B23 L: battery power supply (for C411III L)
Optional accessories can be found at www.akg.com. Your dealer
will be happy to advise you.
Introduction
Package
content
Optional
accessories
C411III MANUALC411III MANUAL20 21
SAFETy ANd ENvIRONMENT dEScRIPTION
1 Safety and environment
Risk of damage
Please make sure that the piece of equipment your microphone
will be connected to fullls the safety regulations in force in your
country and is tted with a ground lead.
1.1 Environment
• In case of scrapping the equipment, separate the housing,
electronics and cables and dispose all the components in
accordance with the appropriate waste disposal regulations.
• The packaging is recyclable. Dispose of the packaging via an
appropriate collection system provided for this purpose.
2 Description
2.1 Introduction
Thank you for your decision to buy an AKG product. Please read
the user instructions carefully, before using the unit and keep
them in a safe place so that you can refer to them in the future at
any time. We wish you a lot of fun!
2.2 Package content
• C411III PP or C411III L
• Adhesive compound
• Microphone bag
Check that the package contains all the parts given above. If
anything is missing, please contact your AKG dealer.
2.3 Optional Accessories
• MPA V L: phantom power adapter (for C411III L)
• B23 L: battery power supply (for C411III L)
Optional accessories can be found at www.akg.com. Your dealer
will be happy to advise you.
Introduction
Package
content
Optional
accessories
C411III MANUALC411III MANUAL22 23
dEScRIPTION INTERFAcINg
2.4 Features
• Rugged vibration pickup for instrument miking on stage.
• Frequency response tailored to acoustic guitar, banjo, zither,
and bowed string instrument miking.
• Complete with adhesive compound for mounting the pickup
directly on the instrument.
2.5 Brief Description
The C411III is a vibration pickup that converts the vibrations of an
instrument’s soundboard into an electrical signal.
The C411III has been specically designed for direct attachment to
an acoustic guitar, banjo, zither, or bowed string instrument and
ensures absolutely accurate, coloration-free reproduction.
The supplied adhesive compound for attaching the pickup will
leave wooden, plastic, and metal surfaces untainted.
2.6 Versions
The C 411III is available in two versions:
• For 9 to 52 V universal phantom power.
(3-m) permanently attached connecting cable with phantom
power adapter with integrated 3-pin XLR connector.
• For use with the B23 L battery power supply, MPA V L phan-
tom power adapter, or AKG Wireless bodypack transmitters.
5-ft.
(1.5-m) permanently attached connecting cable with 3-pin
mini XLR connector
Features
Brief
Description
C411III P
C411III L
3 Interfacing
The C411III pickup is a condenser transducer and therefore needs
a power supply.
Using any power supply other than those recommended by AKG
may damage your pickup and will void the warranty.
3.1 C411III PP
3.1.1 Connecting to Balanced Inputs
2
3
1
2
3
1
PhantomMPA
MPA
MIC 1 MIC 2 MIC 3 MIC 4
3
2
1
1
Figure 1: Connecting to balanced inputs
1) Connect the phantom power adapter (1) on the pickup cable
to a balanced XLR microphone input with phantom power.
2) Switch the phantom power on. (Refer to the instruction manu-
al of the unit to which you connected your pickup.)
3) If your mixer provides no phantom power: Connect the phan-
tom power adapter (1) to an optional AKG phantom power
supply (2) and use an XLR cable (3) to connect the phantom
power supply to the desired balanced input.
C411III PP
Connecting
to balanced
inputs
C411III MANUALC411III MANUAL22 23
dEScRIPTION INTERFAcINg
2.4 Features
• Rugged vibration pickup for instrument miking on stage.
• Frequency response tailored to acoustic guitar, banjo, zither,
and bowed string instrument miking.
• Complete with adhesive compound for mounting the pickup
directly on the instrument.
2.5 Brief Description
The C411III is a vibration pickup that converts the vibrations of an
instrument’s soundboard into an electrical signal.
The C411III has been specically designed for direct attachment to
an acoustic guitar, banjo, zither, or bowed string instrument and
ensures absolutely accurate, coloration-free reproduction.
The supplied adhesive compound for attaching the pickup will
leave wooden, plastic, and metal surfaces untainted.
2.6 Versions
The C 411III is available in two versions:
• For 9 to 52 V universal phantom power.
(3-m) permanently attached connecting cable with phantom
power adapter with integrated 3-pin XLR connector.
• For use with the B23 L battery power supply, MPA V L phan-
tom power adapter, or AKG Wireless bodypack transmitters.
5-ft.
(1.5-m) permanently attached connecting cable with 3-pin
mini XLR connector
Features
Brief
Description
C411III P
C411III L
3 Interfacing
The C411III pickup is a condenser transducer and therefore needs
a power supply.
Using any power supply other than those recommended by AKG
may damage your pickup and will void the warranty.
3.1 C411III PP
3.1.1 Connecting to Balanced Inputs
2
3
1
2
3
1
PhantomMPA
MPA
MIC 1 MIC 2 MIC 3 MIC 4
3
2
1
1
Figure 1: Connecting to balanced inputs
1) Connect the phantom power adapter (1) on the pickup cable
to a balanced XLR microphone input with phantom power.
2) Switch the phantom power on. (Refer to the instruction manu-
al of the unit to which you connected your pickup.)
3) If your mixer provides no phantom power: Connect the phan-
tom power adapter (1) to an optional AKG phantom power
supply (2) and use an XLR cable (3) to connect the phantom
power supply to the desired balanced input.
C411III PP
Connecting
to balanced
inputs
C411III MANUALC411III MANUAL24 25
INTERFAcINg INTERFAcINg
3.1.2 Connecting to Unbalanced Inputs
You may connect any AKG phantom power supply (2) to an unbal-
anced input, too.
Use a cable (3) with a female XLR connector and TS jack plug:
2
3
1SS
T
T
PhantomMPA
INPUT 1 INPUT 2 INPUT 3 INPUT 4
2 4 5
3
1
Figure 2: Connecting to unbalanced inputs
1) On the XLR connector (4), use a wire bridge to connect pin 1
to pin 3 and the cable shield.
2) 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
elds near power or lighting cables, electric motors, etc. like an
antenna. This may introduce hum or similar noise if you use a cable
that is longer than 16 feet (5 m).
3.2 C411III L
The optional B23 L battery supply allows you to connect the pickup
to balanced or unbalanced inputs with no phantom power.
C411III PP
Connecting to
unbalanced
inputs
3.2.1 Connecting to Balanced Inputs
2
3
1SS
T
T
INPUT 1 INPUT 2 INPUT 3 INPUT 4
B23 L
3
4 5
2
1
Figure 3: Using the B23 L to power the microphone
1) Connecting the cable: Push the mini XLR connector (1) on
the pickup cable into one of the two mini XLR sockets on the
B23 L (2) to the stop.
The connector will lock automatically.
Disconnecting the cable: To disconnect the cable, press the
unlocking button on the mini XLR connector (1) and pull the
connector (1) out of the socket.
To avoid damaging the cable, never try to pull out the cable itself!
2) Connect the B 23 L (2) to the desired input.
Use a commercial XLR cable (3) to connect the B23 L (2) to a
balanced input.
3.2.2 Connecting to Unbalanced Inputs
Refer to section 3.1.2.
C411III L
Connecting
to balanced
inputs
C411III L
Connecting to
unbalanced
inputs
C411III MANUALC411III MANUAL24 25
INTERFAcINg INTERFAcINg
3.1.2 Connecting to Unbalanced Inputs
You may connect any AKG phantom power supply (2) to an unbal-
anced input, too.
Use a cable (3) with a female XLR connector and TS jack plug:
2
3
1SS
T
T
PhantomMPA
INPUT 1 INPUT 2 INPUT 3 INPUT 4
2 4 5
3
1
Figure 2: Connecting to unbalanced inputs
1) On the XLR connector (4), use a wire bridge to connect pin 1
to pin 3 and the cable shield.
2) 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
elds near power or lighting cables, electric motors, etc. like an
antenna. This may introduce hum or similar noise if you use a cable
that is longer than 16 feet (5 m).
3.2 C411III L
The optional B23 L battery supply allows you to connect the pickup
to balanced or unbalanced inputs with no phantom power.
C411III PP
Connecting to
unbalanced
inputs
3.2.1 Connecting to Balanced Inputs
2
3
1SS
T
T
INPUT 1 INPUT 2 INPUT 3 INPUT 4
B23 L
3
4 5
2
1
Figure 3: Using the B23 L to power the microphone
1) Connecting the cable: Push the mini XLR connector (1) on
the pickup cable into one of the two mini XLR sockets on the
B23 L (2) to the stop.
The connector will lock automatically.
Disconnecting the cable: To disconnect the cable, press the
unlocking button on the mini XLR connector (1) and pull the
connector (1) out of the socket.
To avoid damaging the cable, never try to pull out the cable itself!
2) Connect the B 23 L (2) to the desired input.
Use a commercial XLR cable (3) to connect the B23 L (2) to a
balanced input.
3.2.2 Connecting to Unbalanced Inputs
Refer to section 3.1.2.
C411III L
Connecting
to balanced
inputs
C411III L
Connecting to
unbalanced
inputs
C411III MANUALC411III MANUAL26 27
INTERFAcINg USE
3.2.3 Using the MPA V L
Mini XLR Mini XLR MPA
MPA
MIC 1 MIC 2 MIC 3 MIC 4
Phantom
3 4
1 2
5
3
2
3
1
2
3
1
Figure 4: Connection diagram with MPA V L.
1) Connecting the cable:
Push the mini XLR connector (1) on the pickup cable into the
mini XLR socket (2) on the cable of the MPA V L (3) to the
stop.
The connector will lock automatically.
Disconnecting the cable: refer to section 3.2.1.
2) Connect the MPA V L (3) to a balanced XLR microphone input
with phantom power.
3) Switch the phantom power on. (Refer to the instruction manu-
al of the unit to which you connected your pickup.)
4) If your mixer provides no phantom power: Connect the
MPA V L (3) to an optional AKG phantom power supply (4) and
use an XLR cable (5) to connect the phantom power supply (4)
to the desired balanced input.
3.2.4 Connecting to a Bodypack Transmitter
Refer to the manual of your bodypack transmitter.
C411III L
Using the MPA V L
Connecting to
a Bodypack
Transmitter
4 Use
4.1 Introduction
Since a soundboard vibrates differently in different places, you
can get different sounds by carefully selecting the spot where you
mount the pickup.
Section 4.3 describes proven techniques that you may want to use
as starting points for your own experiments.
4.2 Attaching the Pickup to the Instrument
If you are going to attach the pickup to a lacquered surface, check
the condition of the lacquer coat rst.
If the lacquer coat is porous or cracked, the adhesive compound
will lose some of its tack and may damage the lacquer coat further
when you remove the pickup.
Introduction
C411III MANUALC411III MANUAL26 27
INTERFAcINg USE
3.2.3 Using the MPA V L
Mini XLR Mini XLR MPA
MPA
MIC 1 MIC 2 MIC 3 MIC 4
Phantom
3 4
1 2
5
3
2
3
1
2
3
1
Figure 4: Connection diagram with MPA V L.
1) Connecting the cable:
Push the mini XLR connector (1) on the pickup cable into the
mini XLR socket (2) on the cable of the MPA V L (3) to the
stop.
The connector will lock automatically.
Disconnecting the cable: refer to section 3.2.1.
2) Connect the MPA V L (3) to a balanced XLR microphone input
with phantom power.
3) Switch the phantom power on. (Refer to the instruction manu-
al of the unit to which you connected your pickup.)
4) If your mixer provides no phantom power: Connect the
MPA V L (3) to an optional AKG phantom power supply (4) and
use an XLR cable (5) to connect the phantom power supply (4)
to the desired balanced input.
3.2.4 Connecting to a Bodypack Transmitter
Refer to the manual of your bodypack transmitter.
C411III L
Using the MPA V L
Connecting to
a Bodypack
Transmitter
4 Use
4.1 Introduction
Since a soundboard vibrates differently in different places, you
can get different sounds by carefully selecting the spot where you
mount the pickup.
Section 4.3 describes proven techniques that you may want to use
as starting points for your own experiments.
4.2 Attaching the Pickup to the Instrument
If you are going to attach the pickup to a lacquered surface, check
the condition of the lacquer coat rst.
If the lacquer coat is porous or cracked, the adhesive compound
will lose some of its tack and may damage the lacquer coat further
when you remove the pickup.
Introduction
C411III MANUALC411III MANUAL28 29
USE USE
Figure 5: Pressing the adhesive compound on the underside of the pickup
1) Remove the backing from the supplied adhesive compound.
2) Press some of the adhesive compound (just enough to cover
the "footprint" of the pickup) on the underside of the pickup.
3) Press the pickup onto the bridge of your instrument or onto
the soundboard, near the bridge.
4.3 Hints on Microphone Placement Hints on
Microphone
Placement
Guitar
Violin
Banjo
Zither
C411III MANUALC411III MANUAL28 29
USE USE
Figure 5: Pressing the adhesive compound on the underside of the pickup
1) Remove the backing from the supplied adhesive compound.
2) Press some of the adhesive compound (just enough to cover
the "footprint" of the pickup) on the underside of the pickup.
3) Press the pickup onto the bridge of your instrument or onto
the soundboard, near the bridge.
4.3 Hints on Microphone Placement Hints on
Microphone
Placement
Guitar
Violin
Banjo
Zither
C411III MANUALC411III MANUAL30 31
TROUBLESHOOTINg cLEANINg
5 Troubleshooting
Problem Possible cause Remedy
No sound Power to mixer and/or amplier
is off.
Switch power to mixer or amplier
on.
Channel or master fader on
mixer or volume control on
amplier is at zero.
Set channel or master fader
on mixer or volume control on
amplier to desired level.
Pickup is not connected to mixer
or amplier.
Connect pickup to mixer or
amplier.
Cable connectors are seated
loosely.
Check cable connectors for
secure seat.
Cable is defective. Check cable and replace if
damaged.
No supply voltage. Switch phantom power on.
Phantom power supply: connect
to power outlet or insert battery
(batteries). Check cable and
replace if damaged.
Distortions Gain control on the mixer set
too high.
Turn gain control down CCW.
Mixer input sensitivity too high. Connect a 10 dB preattenuation
pad between pickup cable and
input.
6 Cleaning
Use a soft cloth moistened with water to clean the surface of the
microphone body.
C411III MANUALC411III MANUAL30 31
TROUBLESHOOTINg cLEANINg
5 Troubleshooting
Problem Possible cause Remedy
No sound Power to mixer and/or amplier
is off.
Switch power to mixer or amplier
on.
Channel or master fader on
mixer or volume control on
amplier is at zero.
Set channel or master fader
on mixer or volume control on
amplier to desired level.
Pickup is not connected to mixer
or amplier.
Connect pickup to mixer or
amplier.
Cable connectors are seated
loosely.
Check cable connectors for
secure seat.
Cable is defective. Check cable and replace if
damaged.
No supply voltage. Switch phantom power on.
Phantom power supply: connect
to power outlet or insert battery
(batteries). Check cable and
replace if damaged.
Distortions Gain control on the mixer set
too high.
Turn gain control down CCW.
Mixer input sensitivity too high. Connect a 10 dB preattenuation
pad between pickup cable and
input.
6 Cleaning
Use a soft cloth moistened with water to clean the surface of the
microphone body.
C411III MANUALC411III MANUAL32 33
TEcHNIcAL dATA TEcHNIcAL dATA
7 Technical data
Type: pre-polarized condenser transducer
Polar pattern: Figure 8
Frequency range: 10 – 18,000 Hz
Sensitivity: 1 mV/ms-2 (vibration pickup)
Impedance at 1,000 Hz: 200 Ω, unbalanced
Recommended load
impedance:
≥1,000 ohms
Max. SPL for 1%/3% THD: 96 dB / 103 dB
Powering: C411III PP: 9 to 52 V universal phantom
power
C411III L: B 29 L battery power supply,
MPA V L phantom adapter,
AKG WMS bodypack transmitters
Current consumption: approx. 2.2 mA
Cable length/Connector: C411III PP: 3 m (10 ft.) / 3-pin male XLR
C411III L: 1.5 m (5 ft.) / 3-pin mini XLR
Finish: matte black
Dimensions: 27 x 14 x 9.5 mm (1 x 0.6 x 0.4 in.).
Net/shipping weight: C411III PP: 98 g (3.5 oz.) / 225 g (8 oz.)
C411III L: 18 g (0.6 oz.) / 150 g (5.3 oz.)
This product conforms to the standards listed in the Declaration of
Conformity. You can request the Declaration of Conformity by e-mail from
Frequency responce C411III
Polar Diagram C411III
C411III MANUALC411III MANUAL32 33
TEcHNIcAL dATA TEcHNIcAL dATA
7 Technical data
Type: pre-polarized condenser transducer
Polar pattern: Figure 8
Frequency range: 10 – 18,000 Hz
Sensitivity: 1 mV/ms-2 (vibration pickup)
Impedance at 1,000 Hz: 200 Ω, unbalanced
Recommended load
impedance:
≥1,000 ohms
Max. SPL for 1%/3% THD: 96 dB / 103 dB
Powering: C411III PP: 9 to 52 V universal phantom
power
C411III L: B 29 L battery power supply,
MPA V L phantom adapter,
AKG WMS bodypack transmitters
Current consumption: approx. 2.2 mA
Cable length/Connector: C411III PP: 3 m (10 ft.) / 3-pin male XLR
C411III L: 1.5 m (5 ft.) / 3-pin mini XLR
Finish: matte black
Dimensions: 27 x 14 x 9.5 mm (1 x 0.6 x 0.4 in.).
Net/shipping weight: C411III PP: 98 g (3.5 oz.) / 225 g (8 oz.)
C411III L: 18 g (0.6 oz.) / 150 g (5.3 oz.)
This product conforms to the standards listed in the Declaration of
Conformity. You can request the Declaration of Conformity by e-mail from
Frequency responce C411III
Polar Diagram C411III
This manual suits for next models
2
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