AKG D 5 Manuel utilisateur

D5S

VOCAL

BEDIENUNGSANLEITUNG ..........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

¡Sirvase leer el manual antes de utilizar el equipo!

INSTRUÇÕES DE USO ...............p.

Favor leia este manual antes de usar o equipamento! 52

Page

1 Precaution / Description.....................................................13

1.1 Precaution...................................................................13

1.2 Unpacking...................................................................13

1.3 Optional Accesories....................................................13

1.4 Features ......................................................................13

1.5 Brief Description .........................................................14

2 Interfacing ...........................................................................15

3 Using Your Microphone ......................................................16

3.1 Introduction.................................................................16

3.2 Working Distance and Proximity Efffect ......................16

3.3 Angle of Incidence ......................................................16

3.4 Feedback ....................................................................17

3.5 Backing Vocals............................................................18

4 Cleaning...............................................................................19

4.1 Microphone Body .......................................................19

4.2 Internal Windscreen ....................................................19

5 Troubleshooting ..................................................................20

6 Specifications......................................................................21

12 AKG D 5/D 5 S

Table of Contents

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

components listed above. Should anything be

missing, please contact your AKG dealer.

• For optional accessories, refer to the current

AKG catalog or folder, or visit www.akg.com.

Your dealer will be glad to help.

• Frequency response optimized for vocal use.

• Integrated wind and pop screen for effective

suppression of pop and breath noise.

• Frequency independent supercardioid polar

pattern for high gain before feedback.

• New Varimotion diaphragm for brilliant sound.

• Shock mounted transducer element reduces

handling and cable noise.

• Extremely resilient, spring-steel wire-mesh cap

for extra impact resistance.

1 Precaution / Description

AKG D 5/D 5 S 13



1D5/D5S 1SA45 1 Carrying

case

1.5 Brief

Description

D5:

D5S:

The AKG D 5 is a supercardioid dynamic micro-

phone. It has been designed specifically as a vo-

cal microphone for rough onstage use. The wide

frequency response of the D 5 slightly favors the

midfrequency and treble regions to ensures

good intelligibility of speech. The term "supercar-

dioid polar response" means that the D 5 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 fre-

quencies or, in other words, from the lowest to the

highest notes ("frequency independent").

A shock mount on the transducer minimizes han-

dling and cable noise. An integrated windscreen

reduces pop, wind, and breath noise to a mini-

mum.

A rugged front grill made of spring-steel wire mesh

that is extremely resistant to deformation and a

sturdy zinc alloy die-cast body effectively protect

the microphone and transducer element from

damage on stage and on the road.

TheD5Shasthesamemechanical, electrical,

and acoustic characteristics as the D 5 and fea-

tures a noiseless on/off switch.

1 Description

14 AKG D 5/D 5 S

The microphone provides a balanced output on a

3-pin male XLR connector:

Pin 1: ground

Pin2:hot

Pin3:return

You can connect the microphone either to a bal-

anced or an unbalanced microphone input.

• To connect the microphone to a balanced input

(XLR connector), use a commercial XLR cable.

• 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.

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).

2 Interfacing

AKG D 5/D 5 S 15

3.1 Introduction

3.2 Working

Distance and

Proximity Effect

3.3 Angle of

Incidence

Refer to fig. 1.

Fig. 1: Typical mi-

crophone position.

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 re-

verberation.

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.

Sing to one side of the

microphone or above

and across the micro-

phone’s top. This pro-

vides a well-balanced,

natural sound.

If you sing directly into

the microphone, it will

not only pick up exces-

sive breath noise but

also overemphasize "sss", "sh", "tch", "p", and "t"

sounds.

3 Using Your Microphone

16 AKG D 5/D 5 S

3.4 Feedback

Fig. 2: Microphone

placement for

maximum gain

before feedback.

Refer to fig. 2.

The term “feedback” means that part of the sound

projected by a speaker is picked up by a micro-

phone, fed back to the amplifier, and projected

again by the speaker. Above a specific volume or

"system gain" setting the sound system will start

howling and the sound engineer will desperately

dive for the master fader to reduce the volume and

stop the howling.

To increase usable gain before feedback, the mi-

crophone has a supercardioid polar pattern. It 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).

To maximize gain before feedback, place the 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 a monitor or FOH

speaker.

Feedback may also be triggered by resonances

depending on the acoustics of the room or hall.

With resonances at low frequencies, proximity ef-

3 Using Your Microphone

AKG D 5/D 5 S 17

3.5 Backing

Vocals

Fig. 3: Two

vocalists sharing a

microphone.

fect may cause feedback. In this case, it is often

enough to move away from the microphone a little

to stop the feedback.

1. Never let more than

two persons share a

microphone.

2. The microphone is

very insensitive to off-

axis sounds. If the

two vocalists were to

sing into the micro-

phone from an angle

wider than 35 de-

grees, you mayend up bringing up the fader of

the microphone channel far enough to create a

feedback problem.

3 Using Your Microphone

18 AKG D 5/D 5 S

4.1 Microphone

Body

4.2 Internal

Windscreen

• To clean the surface of the microphone body,

use a soft cloth moistened with water.

1. Unscrew the front grill from the microphone

CCW.

2. Remove the windscreen from the from grill and

wash the windscreen in soap suds.

3. Allow the windscreen to dry overnight.

4. Replace the windscreen in the front grill and

screw the front grill on the microphone CW.

4 Cleaning

AKG D 5/D 5 S 19

5 Troubleshooting

20 AKG D 5/D 5 S

Problem Possible Cause Remedy

No sound. 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.

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 con-

nectors for secure

seat.

5. Check cable and

replace if dam-

aged.

Distortion. 1. Gain control on

mixer or transmit-

ter module not set

correctly.

2. Mixer input sensi-

tivity too high.

1. Set gain control to

stop distortion.

2. Insert 10 dB preat-

tenuation pad be-

tween microphone

cable and input.

Microphone sound

becomes duller by

and by.

• Internal or external

windscreen atten-

uates high fre-

quencies when

soiled.

• Clean internal or

external wind-

screen.

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