AKG MicroMic C417 III User manual

C417
III
BEDIENUNGSHINWEISE . . . . . . . . . . . . . S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
USER INSTRUCTIONS . . . . . . . . . . . . . . . p. 13
Please read the manual before using the equipment!
MODE D’EMPLOI . . . . . . . . . . . . . . . . . . . . . . p. 24
Veuillez lire cette notice avant d’utiliser le système!
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!
INSTRUÇÕES DE USO . . . . . . . . . . . . . . . p. 57
Favor leia este manual antes de usar o equipamento!

13
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 miss-
ing, please contact your AKG dealer.
• Professional miniature clip-on microphone.
• Omnidirectional condenser transducer for nat-
ural sound.
• Extended frequency response for clear repro-
duction of speech, vocals, violin.
1 Precaution/Description
1.1 Precaution
1.2 Unpacking
1.3 Optional
Accessories
1.4 Features
1 C 417III 1 W 407 1 H 40/1 1 H 41
• MK 9/10 microphone cable: 10-m
(30-ft.) 2-conductor shielded cable
w/male and female XLR connectors
• MPA III L phantom power adapter
• B 29 L, B 15 battery power
supplies
• N 62 E, N 66 E,
B 18 phantom
power suppplies
4

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1.5 Brief
Description
1.6 Versions
C 417III PP:
C 417III L:
C 417III PL:
• Fastens on clothing or directly on the user's
head.
The C 417III 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 417III 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 417III is available in three versions:
• With 3-pin XLR connector with integrated ad-
apter for 9 to 52 V universal phantom power.
• With locking mini XLR connector for use with
the B 29 L battery power supply, MPA III L
phantom power adapter, or AKG bodypack
transmitters.
• Identical to the C 417III L, except with flesh-
color cable and microphone body.
1 Description
4

15
2.1 Introduction
Important!
2.2 C 417III PP
2.2.1 Connecting
to Balanced
Inputs
Refer to fig. 1.
Refer to fig. 1.
2.2.2 Connecting
to Unbalanced
Inputs
Refer to fig. 2.
The C 417III 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 the
microphone cable to a balanced XLR micro-
phone input with phantom power.
2. Switch the phantom power on. (Refer to the in-
struction manual of the unit to which you
connected your microphone.)
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:
2 Interfacing
XLR
1
2
1
3
Phantom
XLR
Fig. 1: Connecting to a balanced input.
4

16
Note:
2.3 C 417III L/PL
2.3.1 Using the
Optional B 29 L
Refer to fig. 3.
Connecting the
cable:
Disconnecting
the cable:
1. On the XLR connector (4), add 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 fields near power or lighting
cables, electric motors, etc. like an antenna.
This may 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.
1. 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.
2 Interfacing
XLR Phantom
1
2
3
45
Fig. 2: Connecting to an unbalanced input.
4

17
Important!
Refer to fig. 3.
Balanced input:
Unbalanced input:
2.3.2 Using the
MPA III L
Refer to fig. 4.
Disconnecting
the cable:
To avoid damaging the cable, never try to
pull out the cable itself!
2. Connect the B 29 L (2) to the desired input.
• Use a commercial XLR cable (3) to connect
the B 29 L (2) to a balanced input.
• Refer to section 2.2.2 above.
1. 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.
2. Connect the MPA III L (3) to a balanced XLR
microphone input with phantom power.
3. Switch the phantom power on. (Refer to the in-
struction manual of the unit to which you
connected your microphone.)
2 Interfacing
B 29 L
1
2
3
45
Fig. 3: Using the B 29 L to power the microphone.
4

18
Refer to fig. 4.
2.3.3 Connecting
to a Bodypack
Transmitter
4. If your mixer provides no phantom power:
Connect the MPA III L (3) to an optional AKG
phantom power supply (4) (N 62 E, N 66 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.
2 Interfacing
Mini XLR Mini XLR MPA
MPA
3
Phantom
4
123
5
Fig. 4: Connection diagram with MPA III L.
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19
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.
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.
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 Using Your Microphone
min.
a b
4

20
Note:
3.3 Live
Recording and
Spot Miking
3.4 Theater,
Musical, Opera
Fig. 7: Microphone
integrated in per-
former's makeup.
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.
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
4

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3.5 Violin
Fig. 8: Miking up a
violin.
Refer to fig. 8.
If the production concept does not allow for
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:
• Since the microphone is not mounted on the
violin itself, it will not affect the sound of the in-
strument.
• There will be no risk of damaging the violin with
adhesive tape or similar mounting materials.
• There will be no cable that gets in the way.
To clean the microphone case, use a soft cloth
moistened with water.
3 Using Your Microphone
4 Cleaning
4