Assessments - 3, GPA: 5
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Facilidade de uso
Your dealer will be glad to help. The C 747 V11 is a pencil-type microphone containing a condenser capsule of very small dimensions. Despite its small size, the microphone provides a well-balanced frequency response and frequency independent polar pattern. The acoustically tuned interference tube in front of the capsule ensures a smooth low-end response rarely found in any microphone this small in diameter. This design also provides high sensitivity, an excellent signal/noise ratio, and a consistent directivity factor. Its hypercardioid polar response ensures excellent separation, making the C 747 V11 an ideal spot microphone. The supplied accessories and its small size enable the microphone to be used in a variety of miking situations. The microphone features a low-impedance, electronically balanced output and is designed for standard phantom powering.You can connect the microphone to balanced or unbalanced inputs. 14 C 747 V11 3 Interfacing The C 747 V11 is a condenser microphone and therefore needs a power supply. 3.1 General 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 to balanced microphone inputs with or without Refer to sections phantom power. AKG phantom power supplies allow you to connect the micro-3.2 and 3.3 below. phone to unbalanced inputs as well. 3.2 3.3 C 747 V11 C 747 V11 B 18 3.2 Balanced Input with Phantom Power Fig. 1: Connecting to a balanced input. 1. Use an XLR cable to connect the microphone to a balanced XLR input with Refer to fig. 1. phantom power. 2. Switch the phantom power on. (Refer to the instruction manual of the unit to which you connected your C 747 V11.) • If your mixer provides no phantom power, connect an optional AKG B 18 phantom power supply between the microphone and the mixer. C 747 V11 B 18 You may connect the AKG B 18 phantom power supply to an unbalanced input as well. • Refer to the instruction manual of the B 18 phantom power supply. 3.3 Balanced Input with No Phantom Power Refer to fig. 1 above. 3.4 Unbalanced Input Fig. 2: Connecting to an unbalanced input. Refer to fig. 2 above. C 747 V11 15 4 Using the Microphone 4.1 Mounting All supplied mounting accessories have 3/8" inside and/or outside threads, so you can screw the H 47 mic clamp as well as the MSH 70 gooseneck on to any standard floor or table stand. Note: • To fix any of the supplied mounting accessories to a 5/8" thread, use a commercial 3/8" to 5/8" thread adapter. • Use the SA 80 to clamp the microphone on a desktop, microphone stand, flats, or other parts of a stage set up to 0.8 in./20 mm in thickness or diameter. Fig. 3: Clamping the mi- crophone on a desktop. Fig. 4: Clamping the microphone on a floor stand. MSH 70 H 47 SA 80 H 47 SA 80 SHZ 80 MSH 70 Refer to figs. 3 and 4. 4.1.1 Mounting the Gooseneck Crosswise Fig. 5: Mounting the gooseneck crosswise on the SA 80 clamp. Refer to fig. 5a. Refer to fig. 5b. 1. Use a screwdriver or coin to remove the connecting screw (1). 2. Insert the SHZ 80 screw link (2) into the hole in the fin (3). 3. Screw the gooseneck (4) on. a b1 2 3 4 16 C 747 V11 4 Using the Microphone Due to its reduced size and slight presence rise the C 747 V11 is an excellent 4.2 Speech choice for speech miking in conference and discussion situations as well as radio, TV and recording studios. ST 46 MSH 70 H 47 Fig. 6: Mounting the microphone on a table stand. 1. Mount the microphone on a table stand, e.g., an ST 46 (optional). Refer to fig. 6. 2. Place the microphone about 1 foot/30 cm in front of the talker. 1. You can use the SA 47 stand adapter to mount the microphone on a table stand. Refer to fig. 8. MSH 70 H 47 SA 47 SA 80 H 47 ST 46 2. Place the microphone about 1 foot/30 cm in front of the talker. • Refer to fig. 7: Alternatively, you can clamp the microphone to the desktop using the SA 80. Fig. 7: Clamping the microphone on a desktop. • Fig. 8: Mounting the microphone on a table stand. C 747 V11 17 4 Using the Microphone 4.3 Snare Drum Refer to figs. 4 (p. 16) and 9: 1. Clamp the microphone on a cymbal stand. 2. Experiment with microphone placement to obtain the desired snare drum sound. Fig. 9: Microphone placement for a snare drum. 4.4 Saxophone Fig. 10: Microphone positions for a saxophone. Refer to fig. 10a. Refer to fig. 10b. a b The saxophone radiates all of its frequencies within the 3-dB band from the bell. 1. Place the microphone above the bell. 2. Point the microphone roughly at the middle of the instrument. • If you want less key click noise, move the microphone further away from the instrument and/or aim it al the outer rim of the bell. 4.5 Acoustic Guitar Fig. 11: Recommended microphone position for an acoustic guitar. Nylon and steel strung guitars are both subtle instruments. The strings, wood, lacquer, and playing style all affect the tone and it's these delicate influences that you should try to capture. Refer to fig. 11: • To make sure you get the full sp...