AKG D 7 Manuel utilisateur
D7
D7 S
D7 LTD
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. 52
Favor leia este manual antes de usar o equipamento!
Page
1 Precaution / Description........................................................................13
1.1 Precaution ..................................................................................13
1.2 Unpacking ..................................................................................13
1.3 Optional Accesories .....................................................................13
1.4 Features.....................................................................................13
1.5 D 7.............................................................................................14
1.6 D / S...........................................................................................14
1.7 D 7 LTD ......................................................................................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................................................................................................18
4.1 D 7, D 7 S ...................................................................................18
4.2 D 7 LTD ......................................................................................18
4.3 Cleaning the Internal Windscreen..................................................18
4.4 Replacing the Internal Windscreen ................................................19
5 Troubleshooting ....................................................................................20
6 Specifications .......................................................................................21
Table of Contents
12 D 7/D 7 S/D 7 LTD
1 Precaution/Description
1.1 Precaution
1.2 Unpacking
1.3 Optional
Accessories
1.4 Features
D 7/D 7 S/D 7 LTD 13
L
• 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.
• Mechanical/pneumatic transducer shock mount reduces
handling and cable noise.
• Highpass filter and humbucking coil minimize low-fre-
quency noise
• Extremely resilient, spring-steel wire-mesh cap for extra
impact resistance.
1 D 7 / D 7 S /
D 7 LTD 1 SA 61
1 Extra
internal
windscreen
1 Car-
rying
case
1 Micro-
fiber cloth
(D 7 LTD
only)
1.5 D 7
1.6 D 7 S
1.7 C 7 LTD
The AKG D7is a supercardioid dynamic microphone. It has
been designed specifically as a vocal microphone for rough on-
stage use. The wide frequency response of the D 7 slightly fa-
vors the midfrequency and treble regions to ensures
good intelligibility of speech. The term "supercardioid polar re-
sponse" means that the D 7 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 mechanical/pneumatic shock mount on the transducer ele-
ment minimizes handling and cable noise. An integrated wind-
screen reduces pop, wind, and breath noise to a minimum. A
built-in humbucking coil and 80-Hz highpass filter will effec-
tively suppress any other kind of unwanted low-frequency
noise. The filter is permanently active. Therefore, the micro-
phone has no separate on/off switch for the highpass filter.
A rugged front grill made of spring-steel wire mesh that is ex-
tremely resistant to deformation and a sturdy zinc alloy die-cast
body effectively protect the microphone and transducer ele-
ment from damage on stage and on the road.
The D 7 S has the same mechanical, electrical, and acoustic
characteristics as the D 7 and features a noiseless on/off
switch.
The D 7 LTD has the same mechanical, electrical, and acoustic
characteristics as the D 7 and boasts a chrome-plated case to
satisfy specail esthetic requirements.
1 Description
14 D 7/D 7 S/D 7 LTD
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 un-
balanced microphone input.
• To connect the microphone to a balanced input (XLR con-
nector), 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 interfer-
ence from stray magnetic fields near power or lighting ca-
bles, 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
D 7/D 7 S/D 7 LTD 15
Note:
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 reverber-
ation.
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 fre-
quencies that occurs when you sing into the microphone from
less than 2 inches. It gives more "body" to your voice and an in-
timate, bass-heavy sound.
If you sing directly into the mi-
crophone, it will not only pick
up excessive breath noise but
also overemphasize "sss", "sh",
"tch", "p", and "t" sounds.
• Therefore, sing to one side of
the microphone or above and
across the microphone’s top.
This provides a well-bal-
anced, natural sound.
3 Using your microphone
3.1 Introduction
3.2 Working Distance
and Proximity Effect
3.3 Angle of Incidence
Refer to fig. 1.
Fig. 1: Typical micro-
phone position.
16 D 7/D 7 S/D 7 LTD
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 microphone, fed back to the ampli-
fier, and projected again by the speaker. Above a specific vol-
ume or "system gain" setting the sound system will start howl-
ing 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 microphone has a
supercardioid polar pattern. It is most sensitive to sounds arriv-
ing 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 micro-
phone 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 fre-
quencies, proximity effect may cause feedback. In this case, it is
often enough to move away from the microphone a little to stop
the feedback.
3 Using your microphone
D 7/D 7 S/D 7 LTD 17
3.5 Backing
Vocals
Fig. 3: Two vocalists
sharing a microphone.
4.1 D 7, D 7 S
4.2 D 7 LTD
4.3 Cleaning the
Internal Windscreen
1. Never let more than two
persons share a micro-
phone.
2. The microphone is very in-
sensitive to off-
axis sounds. If the two vo-
calists were to sing into the
microphone from an angle
wider 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 surface of the microphone body, use a soft
cloth moistened with water.
• To clean the surface of the microphone body, use the sup-
plied microfiber cloth.
Dust, moisture, lipstick, etc. may gradually turn the windscreen
inside the front grill into a “high-frequency trap” making the mi-
crophone sound dull. We therefore recommend cleaning the in-
ternal windscreen as soon as the microphone sound begins to
lose its sparkle and clarity.
1. Unscrew the front grill from the microphone CCW.
2. Remove the internal windscreen from the front grill.
3. Soak the internal windscreen in soap suds and squeeze out
the suds again. Repeat three or four times.
4. Allow the internal windscreen to dry overnight.
5. Insert the cleaned internal windscreen into the front grill.
6. Screw the front grill on the microphone CW.
3 Using your microphone
4 Cleaning
18 D 7/D 7 S/D 7 LTD
Should the sound remain dull even after cleaning the wind-
screen, you can replace the original internal windscreen with
the extra windscreen supplied with the microphone:
1. Unscrew the front grill from the microphone CCW.
2. Remove the internal windscreen from the front grill.
3. Wet the extra windscreen with a few drops of water and
squeeze the windscreen a couple of times, to the point that
it assumes the correct shape.
4. Allow the extra windscreen to dry.
5. Insert the extra windscreen into the front grill.
6. Screw the front grill on the microphone CW.
4 Cleaning
4.4 Replacing the
Internal Windscreen
D 7/D 7 S/D 7 LTD 19
5 Troubleshooting
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 con-
nected to mixer or am-
plifier.
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 vol-
ume control on amplifier
to desired level.
3. Connect microphone to
mixer or amplifier.
4. Check cable connectors
for secure seat.
5. Check cable and re-
place if damaged.
Distortion. 1. Gain control on mixer or
transmitter module not
set correctly.
2. Mixer input sensitivity
too high.
1. Set gain control to stop
distortion.
2. Insert 10 dB preattenu-
ation pad between mi-
crophone cable and in-
put.
Microphone sound be-
comes duller by and by. • Internal or external
windscreen attenuates
high frequencies when
soiled.
• Clean or replace inter-
nal or external wind-
screen.
20 D 7/D 7 S/D 7 LTD
Autres manuels pour D 7
3
Ce manuel convient aux modèles suivants
2
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