AKG EMOTION Series User manual

Bedienungshinweise . . . . . . . . . . . . . . . . . . S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
User Instructions . . . . . . . . . . . . . . . . . . . . p. 12
Please read the manual before using the equipment!
Mode d’emploi . . . . . . . . . . . . . . . . . . . . . . p. 22
Veuillez lire cette notice avant d’utiliser le système!
Istruzioni per l’uso . . . . . . . . . . . . . . . . . . . p. 32
Prima di utilizzare l’apparecchio, leggere il manuale!
Modo de empleo . . . . . . . . . . . . . . . . . . . . p. 42
Antes de utilizar el equipo, lea por favor el manual!
Instruções de uso . . . . . . . . . . . . . . . . . . . p. 52
Por favor leia este manual antes de usar o equipamen to!
D 880
D 880 S
AKG.EMOTION
EMOTION
MICROPHONE
SERIES

12
1 1 Precaution/Description
1.1 Precaution
1.2 Unpacking
1.3 Optional
Accessories
1.4 Features
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.
Check that the packaging contains all of the com-
ponents listed above. Should anything be
missing, please contact your AKG dealer.
•MK 9/10 microphone cable: 10 m (30 ft.)
2-conductor shielded cable with 3-pin male
and 3-contact female XLR connectors
•ST 102A, ST 200 floor stands
•ST 1, ST 12, ST 45 table stands
•W 880 windscreen
• Frequency response tailored to vocal miking.
• Built-in windscreen/pop filter for effective sup-
pression of pop and breath noise.
• Doubleflex™ f transducer shock mount re-
duces handling and cable noise.
• Frequency-independent cardioid polar re-
sponse for high gain before feedback.
• New Varimotion™ diaphragm technology for
brilliant sound.
1 D 880 or D 880 S 1 SA 44 stand adapter

13
1 Description
1.5 D 880
1.6 D 880 S
Fig. 1: On/off
switch on the
D 880 S
The D 880 is a supercardioid dynamic micro-
phone. It has been designed specifically as a
vocal microphone for rough onstage use. The
wide frequency response of the D 880 slightly
favors the midfrequency and treble regions to en-
sures good intelligibility of speech. The term
"supercardioid polar response" means that the
D 880 is most sensitive to sound arriving from in
front of it, less sensitive to sound arriving from the
sides and rear. This pickup pattern is virtually the
same for all frequencies or, in other words, from
the lowest to the highest notes ("frequency
independent").
A shock absorbing inner grille protects the trans-
ducer from damage. The strong die cast housing
and the wire-mesh outer grille provide additional
protection for the transducer system. The outer
steel wire mesh grille and a layer of a special fabric
form a very effective windscreen against pop and
breath noise and sibilance.
The D 880 features a standard 3-pin male gold
plated XLR connector for optimum electrical
contact. You can connect the microphone either
to a balanced or an unbalanced microphone input.
The D 880S has the
same mechanical, el-
ectrical, and acoustic
characteristics as the D
880 and features an ad-
ditional noiseless
On/Off switch (Fig. 1).

14
2 Wiring
2.1 Circuit
Diagram
Fig. 1: D 880 circuit
diagram.
Fig. 2: D 880 S
circuit diagram.
2.2 Connecting
the Microphone
to a Balanced
Input
Refer to fig. 3.
The microphone provides a balanced output on a
3-pin male XLR connector:
Pin 1: ground
Pin 2: hot
Pin 3: return
You can connect the microphone either to a
balanced or an unbalanced microphone input.
1. Use a commercial XLR cable such as the op-
tional MK 9/10 from AKG.
The length of these cables does not affect au-
dio quality.
2. Plug the female XLR connector on the micro-
phone cable into the male XLR connector on
the microphone.
3. Plug the other connector on the microphone
cable into the desired microphone input socket
on your mixer or amplifier.

15
2 Wiring
2.3 Connecting
the Microphone
to an
Unbalanced
Input
Fig. 4: Using an
unbalanced cable.
Fig. 3: Using a balanced connecting cable.
1. To connect the microphone to an unbalanced
microphone input (1/4” jack), use a cable with a
female XLR connector and a 1/4” TS jack plug.
These cables are available at music stores.
Please note that unbalanced cables may pick
up interference from stray magnetic fields near
power or lighting cables, electric motors, etc.
like an antenna. This may cause hum or similar
noise when you use a cable that is longer than
16 feet (5 m).

16
2 Wiring
3.1 Introduction
3.2 Working
Distance and
Proximity Effect
2. Plug the female XLR connector on the micro-
phone cable into the male XLR connector on
the microphone.
3. Plug the other connector on the microphone
cable into the desired microphone input jack
on your mixer or amplifier.
A handheld vocal microphone provides many
ways of shaping the sound of your voice as it is
heard over the sound system.
The following sections contain useful hints on
how to use your microphone for best results.
Basically, your voice will sound the bigger and
mellower, the closer you hold the microphone to
your lips. Moving away from the microphone will
produce a more reverberant, more distant sound
as the microphone will pick more of the room’s
reverberation.
You can use this effect to make your voice sound
aggressive, neutral, insinuating, etc. simply by
changing your working distance.
Proximity effect is a more or less dramatic boost
of low frequencies that occurs when you sing into
the microphone from less than 2 inches. It gives
more “body” to your voice and an intimate, bass-
heavy sound.
3 Using Your Microphone

17
3 Using Your Microphone
3.3 Angle of
Incidence
Fig. 5: Typical
microphone
position.
3.4 Feedback
Fig. 6: Microphone
placement for
maximum gain
before feedback.
Sing to one side of the microphone or above and
across the microphone’s top. This provides a
well-balanced, natural sound.
If you sing directly into the microphone, it will not
only pick up excessive breath noise but also
overemphasize “sss”, “sh”, “tch”, “p”, and “t”
sounds.
Feedback is the result of part of the sound pro-
jected by a speaker being picked up by a micro-
phone, fed to the amplifier, and projected again

18
3 Using Your Microphone
by the speaker. Above a specific volume or
“system gain” setting called the feedback
threshold, the signal starts being regenerated
indefinitely, making the sound system howl and
the sound engineer desperately dive for the
master fader to reduce the volume and stop the
howling.
To increase usable gain before feedback, the
microphone has a supercardioid polar pattern.
This means that the microphone is most sensitive
to sounds arriving from in front of it (your voice)
while picking up much less of sounds arriving
from the sides or rear (from monitor speakers for
instance).main (“FOH”) speakers in front of the
microphones (along the front edge of the stage).
If you use monitor speakers, be sure never to
point any microphone directly at the monitors, or
at the FOH speakers.
Feedback may also be triggered by resonances
depending on the acoustics of the room or hall.
With resonances at low frequencies, proximity
effect may cause feedback. In this case, it is often
enough to move away from the microphone a
little to stop the feedback.

19
3 Using Your Microphone
3.5 Backing
Vocals
Fig. 7: Two vocal-
ists sharing a
microphone.
1. Never let more than two persons share a
microphone.
2. Ask your backing vocalists never to sing more
than 35 degrees off the microphone axis.
The microphone is very insensitive to off-axis
sounds. If the two vocalists were to sing into
the microphone from a wider angle than
35 degrees, you may end up bringing up the
fader of the microphone channel far enough to
create a feedback problem.
To clean the microphone case, use a soft cloth
moistened with water.
4 Cleaning

20
5 Troubleshooting
Problem
No sound:
Possible Cause
1. Power to mixer
and/or amplifier is
off.
2. Channel or master
fader on mixer, or
volume control on
amplifier is at zero.
3. Microphone is not
connected to
mixer or amplifier.
4. Cable connectors
are seated loosely.
5. Cable is defective.
Remedy
1. Switch power to
mixer or amplifier
on.
2. Set channel or
master fader on
mixer or volume
control on ampli-
fier to desired
level.
3. Connect micro-
phone to mixer or
amplifier.
4. Check cable
connectors for
secure seat.
5. Check cable and
replace if
damaged.

21
6 Specifications
Type: dynamic pressure gradient microphone
Polar pattern: supercardioid
Frequency range: 60 to 20,000 Hz; 20 to 20,000 Hz at 1 cm
Sensitivity at 1000 Hz: 2.5 mV/Pa (–52 dBV re 1 V/Pa)
Electrical impedance at 1000 Hz: ≤600 Ω
Recommended load impedance: ≥2000 Ω
Max. SPL for 1 % / 3 % THD: 147 dB SPL / 156 dB SPL
Equivalent noise level: 22 dB (A) (DIN 45412)
Environment: temperature: –10°C to +60°C
rel. humidity at +20°C: 95%
Connector: 3-pin XLR
Connector pinout: pin 1 – ground
pin 2 – hot
pin 3 – return
Case material: die-cast metal
Finish: matte black enamel
Size: length: 180 mm (7.1 in.)
max. dia.: 50 mm (2 in.)
Net/shipping weight: 290 g (10.2 oz.) / 650 g (1.4 lb.)
This product conforms to EN 50 082-1.
Frequency Response Polar Diagram

D 660 S
The Moffatts B*Witched
D 880 D 880 S
D 440 D 550 D 770
AKG.EMOTION
EMOTION
MICROPHONE
SERIES
Printed in Austria on recycled paper. 08/00/9100 U 0994 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.
AKG Acoustics GmbH Lemböckgasse 21–25, P.O.B. 158, A-1230 Vienna/AUSTRIA, Tel: [phone]*, Fax: [phone], http://www.akg-acoustics.com, e-mail: [email protected] AKG Acoustics, Harman Pro GmbH Bodenseestraße 228, D-81243 München/GERMANY, Tel: [phone], Fax: [phone], http://www.akg-acoustics.de, e-mail: [email protected] AKG ACOUSTICS, U.S. 1449 Donelson Pike, Nashville, TN 37217, U.S.A., Tel: [phone], Fax: [phone], http://www.akgonline.com, e-mail: [email protected] For other distributors worldwide see our website: http://www.akg-acoustics.com