User manual AKG D 770

[. . . ] The outer grille and a layer of special fabric beneath it form a very effective windscreen that will suppress blowing and wind noise on open-air stages. the D 770 features a gold plated 3-pin male XLR-type connector for optimum electrical contact. You can connect the microphone either to a balanced or an unbalanced microphone input. 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. [. . . ] to increase usable gain before feedback , the microphone has a cardioid polar pattern. This means that the microphone is most sensitive to sounds arriving from in front of it 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). 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. Working distance primarily depends on the kind of music played. For popular and jazz pieces, relatively short distances may be desirable (1 or 2 in. ), as the amount of wind and breath noise rises with decreasing working distance. In this case, blow a little below the microphone in order to avoid getting too much noise by blowing at it from an extremely short distance. For classical music, which calls for spatial reproduction, place the microphone about 4 to 8 inches away from the instrument and slightly above it. If you consider the noise produced by the keys as characteristic of the saxophone sound or the song, point the microphone at the middle of the instrument. However, if you want no key noise, direct the microphone toward the front outer rim of the bell. If you aim the microphone into the bell, you will get too much wind noise. optimum working distance is 8 to 12 inches. On stage, you may have to move as close as 2 inches to the microphone in order to avoid getting feedback or spillover from other instruments. In this situation, make sure not to blow right into the microphone. Many harmonica players form a resonant cavity behind the instrument with their hands. you can achieve certain effects by changing the cavity. [. . . ] 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. SPL for 1 % / 3 % THD: Equivalent noise level: Environment: Connector: Connector pinout: dynamic pressure gradient microphone cardioid 60 to 20, 000 Hz; 20 to 20, 000 Hz at 1 cm 2. [. . . ]