D 77 S - Microphone LEXICON - Free user manual and instructions

USER MANUAL D 77 S LEXICON

D 77 S Niere 40 Hz - 20 kHz 2,5 mV/Pa D 88 S Superniere 40 Hz - 20 kHz 2,5 mV/Pa Dynamic instrument microphone Cardioid polar pattern 16-ft. (5-m) balanced XLR/XLR cable Rugged clear-plastic carrying case For kick drum, bass amps, wind instruments D 22

Dynamic instrument microphone Cardioid polar pattern 16-ft. (5-m) balanced XLR/XLR cable H 440 bracket Rugged clear-plastic carrying case For toms, percussion, guitar amps, wind instruments D 77 S

• Dynamic instrument microphone with on/off switch
• Cardioid polar pattern
• 16-ft. (5-m) cable: XLR/XLR (D 77 S/XLR) or XLR/1/4” jack (D 77 S/Jack)
• Rugged clear-plastic carrying case
• For instruments and backing vocals D 88 S

• Dynamic vocal microphone with on/off switch
• Cardioid polar pattern
• 16-ft. (5-m) cable: XLR/XLR (D 77 S/XLR) or XLR/1/4” jack (D 77 S/Jack)
• Rugged clear-plastic carrying case

1.1 Optional

Accessories (D 11, D 22 only)

• MK 9/10 microphone cable: 10 m (30 ft.) 2conductor shielded cable with 3-pin male and 3-contact female XLR connectors
• ST 102A, ST 200 floor stands
• ST 1, ST 12, ST 45 table stands
• W 880 windscreen 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.

2.1 Precaution

D 11, D 22, D 77 S/XLR, D 88 S/XLR Use the supplied balanced cable to connect the microphone to the desired XLR input.

2.2 Connecting

the Microphone Refer to fig. 1. D 77 S/Jack, D 88 S/Jack Use the supplied unbalanced cable to connect the microphone to the desired 1/4” input jack. Please note that unbalanced cables may pick up interference from stray magnetic fields near power or lighting cables, 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). Refer to fig. 2.

1. To switch the microphone on, slide the on/off

switch toward the front grill (”ON” position).

2. To switch the microphone off, slide the on/off

switch toward the microphone cable (”OFF” position).

2.3 Switching

the Microphone on/off (D 77 S, D 88 S) Refer to fig. 3. To prevent unwanted bursts of noise, be sure to switch the microphone off before connecting or disconnecting the microphone cable. Note:

ENGLISH 2 Using Your Microphone 2 Using Your Microphone

2.4 Positioning

the Microphone for Instruments The following sections contain suggestions for placing the microphone optimally for a number of instruments. Please note that moving the microphone closer to the instrument will boost the bass range. (This is known as “proximity effect”.)

2.4.1 Flute

Refer to fig. 4. Microphone: D 77 S Working distance Jazz/pop: 1 to 2 inches. Blow a little below the microphone to avoid overemphasizing blowing and breathing noise. Classical music: 4 to 8 inches above the instrument.

2.4.2 Saxophone

Refer to fig. 5. Microphones: D 22, D 77 S Working distance 0 to 2 inches: The microphone will pick up the bell sound only. 2 to 8 inches: The microphone will pick up both the bell sound and the sound radiated from the keys.

2.4.3 Harmonica

Refer to fig. 6. Microphone: D 77 S Working distance: ”zero” - clamp the microphone between your hands. You will get a very direct sound that you can ”shape” with your hands.

2.4.4 Trumpet,

Tuba, Trombone Refer to figs. 7, 8, 9. Microphone: D 22 (trumpet), D 11 (tuba and trombone) Working distance 0 to 2 inches: The microphone will pick up the bell sound only. 2 to 8 inches: The microphone will pick up both the bell sound and the sound radiated from the body.

2 Using Your Microphone

2.4.5 Guitar

Amplifier Refer to fig. 10. Microphone: D 11 Working distance Bass amp with single speaker: 2 inches. Aim the microphone at a point between the center and the perimeter of the speaker diaphragm. Bass amp with woofer and tweeter: 4 to 6 inches. Aim the microphone at a point halfway between the woofer and tweeter.

2.4.6 Bass

Amplifier Refer to fig. 11. Microphone: D 11 Working distance: Aim the microphone at the point where the beater hits the skin. The sound will be the drier and harder, the closer the microphone sits to the head. Working distances around 1 inch provide the famous “click”. If you prefer a rounder sound aim the microphone at a point between the center and the perimeter of the head.

2.4.7 Kick Drum

Refer to fig. 12. Microphones: D 22, D 77 S Working distance: 1/2 to 1 1/2 inches away from the top skin.

2.4.8 Toms,

Snare, Percussions Refer to figs. 13 and 14.

1. Screw the supplied H 440 bracket to the stand

adapter on the microphone using the captive knurled-head screw on the H 440 bracket.

2. Engage the top groove of the H 440 bracket in

the top hoop from above.

3. Engage the lower arm of the H 440 bracket in

the underside of the top hoop.

2.4.9 Mounting

the D 22 on a Drum Refer to fig. 15. ENGLISH Microphone: D 22 Working distance: 0 to 2 inches. Aim the microphone at a point between the center and the perimeter of (one of) the speaker diaphragm(s).

2 Using Your Microphone

4. Align the microphone with the perimeter of the

2.5 Vocals

2.5.1 Working

Distance and Proximity Effect The closer you hold the microphone to your lips, the louder and darker your voice will sound. As you move away from the microphone, your voice will sound quieter and brighter. If you hold the microphone closer than 2 inches to your lips, the proximity effect, an inherent property of any unidirectional microphone, will sharply boost the low frequencies.

2.5.2 Angle of

Incidence Refer to fig. 16. Sing to one side of the microphone or above and across the microphone’s top. This provides a well-balanced, natural sound. 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. Part of the sound projected by the speakers will be picked up by the microphone, amplified, and fed back to the speakers. Above a certain volume level, this ”vicious circle” causes the sound system to howl and whistle. Preventing feedback

• Never point your microphones directly at monitor or PA speakers.
• Place your monitor speakers where the microphone sensitivity is at a minimum. With the D 88 S supercardioid microphone, these areas are behind and to the sides of the microphone. With the D 77 S cardioid, the minimum sensitivity area is right behind the microphone.
• Be sure to hold the microphone by the shaft and never cover the sound entries behind the

2 Using Your Microphone

1. Keep the maximum number of vocalists sharing a microphone to two.

2. To get adequate signal level, make sure the

two vocalists will remain within an angle of ±35 degrees off the microphone axis. ENGLISH microphone grill. If you cover the rear sound entries, the microphone will lose its directivity and its gain before feedback would drop sharply.

2.5.4 Backing

Vocals Refer to fig. 18. 3 Cleaning To clean the microphone case, use a soft cloth moistened with water.

3.1 Microphone

1. Unscrew the front grill from the microphone

2. Remove the windscreen from the from grill

and wash the windscreen in soap suds.

3. Allow the windscreen to dry overnight.

4. Replace the windscreen in the front grill and

screw the front grill on the microphone CW.

3.2 Internal

Windscreen (D 77 S, D 88 S)

4 Specifications Polar pattern Frequency range Sensitivity D 11 cardioid 20 Hz to 20 kHz

2.5 mV/Pa

D 22 cardioid 60 Hz to 18 kHz

2.5 mV/Pa

Polar pattern Frequency range Sensitivity D 77 S cardioid 40 Hz to 20 kHz

2.5 mV/Pa

D 88 S supercardioid 40 Hz to 20 kHz

2.5 mV/Pa

This product conforms to the standards listed in the Declaration of Conformity. To order a free copy of the Declaration of Conformity, visit http://www.akg.com or contact [e-mail] 5 Warranty Conditions This product carries a two-year warranty by AKG Acoustics GmbH starting from the date of purchase when new. The warranty agreement covers material and labor cost to repair proven faults and is only valid for end customers. Exemptions: Batteries, normal wear and tear, misuse, handling faults, repair by non-authorized workshops. Furthermore the relevant legal warranties apply. The details of the AKG warranty agreement and the address of the nearest AKG service center can be found on www.akg.com For more information call AKG USA at ([phone]

6 Troubleshooting No sound. Possible Cause Remedy

1. Power to mixer

1. Switch power to

and/or amplifier is mixer or amplifier off. on.

2. Channel or master 2. Set channel or

fader on mixer, or master fader on volume control on mixer or volume amplifier is at zero. control on amplifier to desired level.

3. Microphone is not 3. Connect microconnected to

phone to mixer or mixer or amplifier. amplifier.

4. Cable connectors 4. Check cable conare seated loosely.

nectors for secure seat.

5. Cable is defective. 5. Check cable and

6. D 77 S, D 88 S:

6. D 77 S, D 88 S:

Switch in ”OFF” Set switch to position. ”ON” position.

ENGLISH Problem 1 Description D 11

D 11 cardioide 20 Hz a 20 kHz 2,5 mV/Pa D 22 cardioide 60 Hz a 18 kHz 2,5 mV/Pa D 77 S cardioide 40 Hz a 20 kHz 2,5 mV/Pa D 88 S supercardioide 40 Hz a 20 kHz 2,5 mV/Pa D 11 cardióide 20 Hz a 20 kHz 2,5 mV/Pa D 22 cardióide 60 Hz a 18 kHz 2,5 mV/Pa D 77 S cardióide 40 Hz a 20 kHz 2,5 mV/Pa D 88 S supercardióide 40 Hz a 20 kHz 2,5 mV/Pa