AKG C 430 Manuel utilisateur
Bedienungshinweise . . . . . . . . . . . . . . . . . . S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
User Instructions . . . . . . . . . . . . . . . . . . . . p. 10
Please read the manual before using the equipment!
Mode d’emploi . . . . . . . . . . . . . . . . . . . . . . p. 18
Veuillez lire cette notice avant d’utiliser le système!
Istruzioni per l’uso . . . . . . . . . . . . . . . . . . . p.26
Prima di utilizzare l’apparecchio, leggere il manuale!
Modo de empleo . . . . . . . . . . . . . . . . . . . . p. 34
Antes de utilizar el equipo, sírvase leer el manual!
Instruções de uso . . . . . . . . . . . . . . . . . . . p. 42
S.f.f. leia este manual antes de usar o equipamen
to!
C 430
10
1.1 Precaution
1.2 Unpacking
1.3 Features
1.4 Brief
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.
Check that the packaging contains all of the com-
ponents listed above. Should anything be miss-
ing, please contact your AKG dealer.
• Rugged condenser microphone for instrument
miking on stage.
• Flat frequency response ideally suited for
overhead miking of cymbals and hi-hat.
• Integrated windscreen for efficient suppres-
sion of wind noise.
• Transducer shock mount reduces handling and
cable noise.
• Frequency-independent cardioid polar
response for high gain before feedback.
The C 430 is a unidirectional condenser micro-
phone (pressure gradient microphone). It has
been designed primarily as an instrument micro-
phone for rough onstage use. Being a condenser
microphone, it delivers an exceptionally clear,
well-balanced sound and is therefore an ideal
overhead microphone for use on cymbals and hi-
hats. The frequency independent cardioid pickup
pattern of the C 430 ensures high gain before
1 Precaution/Description
1 C 430 1 SA 40 1 W 32
11
1.5 Optional
Accessories
feedback. A special shock mount for the trans-
ducer element makes the microphone virtually in-
sensitive to footfall and other unwanted noise
transmitted by the microphone stand. The
massive all-metal case provides additional pro-
tection for the transducer. A built-in windscreen
will reliably suppress wind noise caused, for in-
stance, by a hi-hat.
1 Description
• MK 9/10 microphone cable: 10-m
(30-ft.) 2-conductor shielded cable with
male and female XLR connectors
• ST 102A, ST 200 ,
ST 305 floor stands
• B 15 battery power supply
• Phantom power
supplies: N 62 E, N
66 E, B 18 E
12
2.1 General
Refer to sections
2.2 and 2.3.
2.2 Input with
Phantom Power
Refer to fig. 1.
2.3 Input with
No Phantom
Power
Refer to fig. 1.
The C 430 is a condenser microphone and there-
fore needs a power supply.
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 microphone input with or without phan-
tom power or an unbalanced microphone input.
1. Use an XLR cable (e.g., the optional MK 9/10
from AKG) to connect the microphone to a
balanced XLR input with phantom power.
2. Switch the phantom power on. (Refer to the in-
struction manual of the unit to which you
connected your C 430.)
Fig. 2: Connecting to a balanced input.
1. If your mixer provides no phantom power,
connect an optional AKG phantom power
supply (N 62 E, N 66 E, B 18, B 15) between
the microphone and the mixer.
2 Interfacing
2.2
2.3
13
Important!
2.4 Unbalanced
Input
Refer to fig. 2.
Note:
Using any power supply other than those
recommended by AKG may damage your
microphone and will void the warranty.
You may connect AKG phantom power supplies
to unbalanced inputs, too.
Fig. 2: Connecting to an unbalanced input.
Use a cable with a female XLR connector and TS
jack plug:
1. On the XLR connector, 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 and the tip contact of
the jack plug.
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).
2 Interfacing
14
3.1 Introduction
3.2 Cymbals
(Overhead)
Fig. 3: Overhead
miking of cymbals.
Refer to fig. 3.
The best way to get the “right” sound is to experi-
ment with microphone placement. The following
sections contain useful suggestions based on
proven miking techniques.
1. Mount the microphone on a boom stand (e.g.,
the optional ST 102A from AKG).
2. Place the microphone above the cymbal at a
distance roughly equal to the radius of the
cymbal.
3. Align the microphone with the outer rim of the
cymbal.
3 Using Your Microphone
15
3.3 Hi-hat
Fig. 4: Miking up
the hi-hat.
Refer to fig. 4.
1. Mount the microphone on a boom stand (e.g.,
the optional ST 102A from AKG).
2. Place the microphone approximately 2 inches
above the open hi-hat.
3. Align the microphone with the perimeter of the
cymbals.
Make sure to point the microphone away from
the snare drum to obtain good acoustic sepa-
ration.
To clean the microphone case, use a soft cloth
moistened with water.
3 Using Your Microphone
4 Cleaning
16
5 Troubleshooting
Problem
No sound:
Distortion:
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 mix-
er or amplifier.
4. Cable connectors
are seated loosely.
5. Cable is defective.
6. No supply voltage.
1. Gain control on
the mixer set too
high.
2. Mixer input sensi-
tivity too high.
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 se-
cure seat.
5.
Check cable and re-
place if damaged.
6. Switch phantom
power on.
Phantom power
supply: connect to
power outlet or in-
sert battery
(batteries).
Check cable and re-
place if necessary.
1. Turn gain control
down CCW.
2. Connect a 10-dB
preattenuation
pad between
microphone cable
and input.
17
6 Specifications
Type: pre-polarized condenser microphone
Frequency range: 20 Hz to 20,000 Hz
Polar pattern: cardioid
Sensitivity at 1 kHz: 7 mV/Pa (-43 dBV re 1 V/Pa)
Impedance: 200 Ω
Recommended load impedance: >2000 Ω
Max. SPL for 1%/3% THD: 126/130 dB SPL
Equivalent noise level: 33 dB (A) (to DIN 45412)
Power requirement: 9 to 52 V universal phantom power
Current consumption: approx. 2 mA
Connector: 3-pin male XLR
Finish: matte black
Size: length: 79 mm (3.1 in.); dia.: 19 mm (0.7 in.)
Net/shipping weight: 32 g (1.1 oz.) / 192 g (6.8 oz.)
This product conforms to EN 50 082-1 provided it is connected to
equipment with a CE sign.
Frequency Response Polar Diagram
Printed in Austria on recycled paper. 04/01/9100 U 1025
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.
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AKG Acoustics GmbH
Lemböckgasse 21–25, P.O.B. 158, A-1230 Vienna/AUSTRIA, Tel: (43 1) 86 654-0*, Fax: (43 1) 86 654-516,
AKG Acoustics, Harman Pro GmbH
Bodenseestraße 228, D-81243 München/GERMANY, Tel: (089) 87 16-0, Fax: (089) 87 16-200,
AKG ACOUSTICS, U.S.
1449 Donelson Pike, Nashville, TN 37217, U.S.A., Tel: (615) 360-0499, Fax: (615) 360-0275,
For other products and distributors worldwide see our website: http://www.akg-acoustics.com
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