User manual AKG C 1000 S

[. . . ] 1 General The C 1000 S is a condenser microphone and therefore needs a power supply. An internal 9 V battery enables you to use the microphone with no loss in audio quality even if no phantom power supply is available. When operating off phantom power, however, the microphone will automatically switch to phantom powering mode. 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 phantom power or an unbalanced microphone input. [. . . ] 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 reverberation. 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 microphone's top. If you sing directly into the microphone, it will not only pick up excessive breath noise but also overemphasize "sss", "sh", "tch", "p", and "t" sounds. Feedback is whgat you get when part of the sound projected by a speaker is picked up by a microphone, fed to the amplifier, and projected again by the speaker. Above a specific volume or system gain setting called the "feedback threshold", the signal starts being regenerated indefinitely, making the sound system howl and the sound engineer desperately dive for the master fader to reduce the gain and stop the howling. 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 (your voice) while picking up much less of sounds arriving from the sides or rear (from monitor speakers for instance). To get maximum 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 the monitors, or at the FOH speakers. we recommend slipping the PPC 1000 Polar Pattern Converter on the capsule to change the microphone's pickup pattern from cardioid to hypercardioid. This makes the microphone even less sensitive to sounds arriving from the sides and further increases gain before feedback. Feedback may also be triggered by resonances depending on the acoustics of the room or hall. With resonances at low fre- In this case, it is often enough to move away from the microphone a little to stop the feedback. To ensure high gain before feedback, never cover the rear sound entries (1) with your hand. This would destroy the cardioid/hypercardioid pickup pattern and cause the microphone to pick up sound from all around, the result being sharply reduced gain before feedback. To optimize the intelligibility of speech, you can slip the PB 1000 Presence Boost Adapter on the capsule (refer to section 3. [. . . ] Unscrew the front grill from the microphone CCW. Remove the windscreen from the from grill and wash the windscreen in soap suds. Replace the windscreen in the front grill and screw the front grill on the microphone CW. SPL for 1% THD: Equivalent noise level (CCIR 468-3): Equivalent noise level: Signal/noise ratio (A-weighted): Impedance: Recommended load impedance: Powering: Current consumption: Connector: Finish: Dimensions: Net weight: Shipping weight: cardioid, hypercardioid (with PPC 1000 mounted) 50 to 20, 000 Hz 6 mV/Pa (-44 dBV) 137 dB 32 dB 21 dB-A 73 dB 200 ohms 2000 ohms 9 to 52 V phantom power to DIN 45596 or internal 9 V battery approx. [. . . ]