LC - Audio Equipment AKG - Free user manual and instructions

USER MANUAL LC AKG

Please read the manual before using the equipment!

MODE D'EMPLOI p.22

1 LC	1 SA 61	1 PB 1000	1 Etui

3.1 Introduction 16
3.2 Working Distance and Proximity Effect 16
3.3 Angle of Incidence 16
3.4 Feedback 17
3.5 Backing Vocals 18
3.6 Installing the PB 1000. 18

4 Cleaning 19

4.1 Microphone Body 19
4.2 Internal Windscreen 19

5 Troubleshooting 20

6 Specifications 21

1 Precaution / 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.

1 LC	1 SA 61	1 PB 1000	1 carrying bag

Check that the packaging contains all of the components listed above. Should anything be missing, please contact your AKG dealer.

• For optional accessories, refer to the current AKG catalog or folder, or visit www.akg.com. Your dealer will be glad to help.
  Rugged condenser microphone for vocal miking on stage.
• Extremely resilient, spring-steel wire-mesh cap for extra impact resistance.
  Built-in windscreen/pop filter for effective suppression of pop and breath noise.
• Transducer shock mount reduces handling and cable noise.
  Frequency-independent cardioid polar response for high gain before feedback.
  PB 1000 Presence Boost attachment for optimum intelligibility of speech.

1.1 Precaution

1.2 Unpacking

1.3 Optional Accessories

1.4 Features

1.5 Brief Description

1 Description

The AKG LC is a vocal microphone for professional use on stage.

Its frequency response precision-tailored to the specific character of the female voice and a cardioid polar pattern provide a smooth sound and high gain before feedback.

A rugged front grill made of spring-steel wire mesh that is extremely resistant to deformation and a sturdy zinc alloy die-cast body effectively protect the microphone and transducer element from damage on stage and on the road.

The outer steel wire mesh grille and a layer of a special fabric form a very effective windscreen against pop and breath noise and siblance.

The supplied PB 1000 Presence Boost attachment provides a boost of approx. 5dB between 5kHz and 9kHz for optimum intelligibility of speech.

2 Interfacing

The LC is a condenser microphone and therefore 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

1. Use an XLR cable to connect the microphone to a balanced XLR input with phantom power.
2. Switch the phantom power on. (Refer to the manual of the unit to which you connected your microphone.)

3.1 Introduction

3 Using Your Microphone

A handheld vocal microphone provides many ways of shaping the sound of your voice as it is heard over the sound system.

The following sections contain useful hints on how to use your microphone for best results.

3.2 Working Distance and Proximity Effect

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.

3.3 Angle of Incidence

Refer to fig. 1.

Fig. 1: Typical microphone position.

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.

3 Using Your Microphone

3.4 Feedback

Fig. 2: Microphone placement for maximum gain before feedback.

The term "feedback" means that part of the sound projected by a speaker is picked up by a microphone, fed back to the amplifier, and projected again by the speaker. Above a specific volume or "system gain" setting the sound system will start howling and the sound engineer will desperately dive for the master fader to reduce the volume and stop the howling.

To increase usable gain before feedback, the microphone has a cardioid polar pattern. It 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 maximize 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 a monitor or FOH speaker.

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.

Refer to fig. 2.

3.5 Backing Vocals

Fig. 3: Two vocalists sharing a microphone.

3 Using Your Microphone

1. Never let more than two persons share a microphone.
2. The microphone is very insensitive to off-axis sounds. If the two vocalists were to sing into the microphone from an angle wider than 35 degrees, you may end up bringing up the fader of

the microphone channel far enough to create a feedback problem.

3.6 Installing the PB 1000

Fig. 4: Microphone capsule without (1) and with (2b) PB 1000.

Refer to fig. 4.

2a

2b

1. Unscrew and remove the wire mesh cap.
2. Slip the PB 1000 on the microphone capsule to the stop, slightly turning the attachment as you push it home.

Important!

• When installing or removing the PB 1000, make sure to grip the capsule and shock mount firmly with your thumb and forefinger in order to prevent the capsule being severed from the shock mount.

4 Cleaning

• To clean the surface of the microphone body, use a soft cloth moistened with water.

• Unscrew the front grill from the microphone CCW.

• Remove the windscreen from the from grill and wash the windscreen in soap suds.
• Allow the windscreen to dry overnight.
• Replace the windscreen in the front grill and screw the front grill on the microphone CW.

4.1 Microphone Body

4.2 Internal Windscreen

Problem	Possible Cause	Remedy
No sound.	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 mixer or amplifier. 4. Cable connectors are seated loosely. 5. Cable is defective. 6. No supply voltage.	1. Switch power to mixer or amplifier on. 2. Set channel or master fader on mixer or volume control on amplifier to desired level. 3. Connect microphone to mixer or amplifier. 4. Check cable connectors for secure seat. 5. Check cable and replace if damaged. 6. Switch phantom power on. Check cable and replace if necessary.
Distortion.	1. Gain control on mixer or transmitter module not set correctly. 2. Mixer input sensitivity too high.	1. Set gain control to stop distortion. 2. Insert 10 dB preattenuation pad between microphone cable and input.
Microphone sound becomes duller over time.	• Internal or external wind-screen attenuates high frequencies when soiled.	• Clean internal or external windscreen.

Polar pattern:	cardioid
Frequency range:	60 Hz to 20 kHz
Sensitivity:	4 mV/Pa (-48 dBV re 1 V/Pa)
Max. SPL for 1% / 3% THD:	140 / 145 dB SPL
Equivalent noise level:	25 dB(A) to IED 60268-4
Signal/noise ratio (A-weighted):	69 dB
Impedance:	≤ 200 ohms
Re commended load impedance:	≥ 2000 ohms
Power requirement:	9 to 52 V phantom power to IEC 61938
Current consumption:	approx. 4.3 mA
Connector:	3-pin XLR
Finish:	satin black
Size:	length: 185 mm (7.3 in.); diameter: 34 mm (1.3 in.)
Net weight:	260 g (9.2 oz.)
Shipping weight:	620 g (1.4 lbs.)

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].

Frequency Response

Polar Diagram

Page

broche 2 = point chaud

broche 3 = point froid

For other products and distributors worldwide visit www.akg.com

ROHS OK

H A Harman International Company

Technische Änderungen vorbehalten. Specifications subject to change without notice. Ces caractéristiques sont susceptibles de modifications. Ci riserviamo il diritto di effettare modifiche tecniche. Nos reservamos el decreho de introducir modificaciones Tecnicas. Especificações sujeitas a mudanças sem aviso prévio.

Printed in Austria

09/08/9100 U 12890