AKG C 430 Manuale utente

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

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

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

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

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

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

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

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.

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.

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,

http://www.akg-acoustics.com, e-mail: [email protected]

AKG Acoustics, Harman Pro GmbH

Bodenseestraße 228, D-81243 München/GERMANY, Tel: (089) 87 16-0, Fax: (089) 87 16-200,

http://www.akg-acoustics.de, e-mail: [email protected]

AKG ACOUSTICS, U.S.

1449 Donelson Pike, Nashville, TN 37217, U.S.A., Tel: (615) 360-0499, Fax: (615) 360-0275,

http://www.akgonline.com, e-mail: [email protected]

For other products and distributors worldwide see our website: http://www.akg-acoustics.com

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