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AKG Rhythm Pack D 112 User Manual

Professional live & studio drum set
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Download this manual See also: Instructions for Using
Live Sound & Studio
Recording
PROFESSIONAL LIVE & STUDIO DRUM SET
Rhythm Pack
D 112
•
Large-diaphragm dynamic microphone for bass instruments
•
Extremely high SPL capability
•
Classic microphone for stage and studio applications
D 40
•
Dynamic microphone designed for drums and percussions, wind
instruments, and guitar amps
•
Patented AKG Varimotion diaphragm technology
•
Custom built capsule mounting
Integrated stand adapter H440
•
•
Spring steel wire-mesh cap
•
Rugged all-metal body withstands typical tough handling on stage
C 430
•
Miniature condenser microphone for cymbal and overhead miking
•
Phantom or battery powering options
•
Mounts securely on all commercial microphone stands
Instrument Microphones

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Summary of Contents for AKG Rhythm Pack D 112

  • Page 1 Classic microphone for stage and studio applications D 40 • Dynamic microphone designed for drums and percussions, wind instruments, and guitar amps • Patented AKG Varimotion diaphragm technology • Custom built capsule mounting Integrated stand adapter H440 • • Spring steel wire-mesh cap •...
  • Page 2 Instrument Microphones Additional spare space inside ! Package Content: • 2 x C 430, 2 x SA 60, 2 x W 32 • 3 x D 40; 3 x H 440 • 1 x D 112; 1 x SA 60 Item Number: Rhythm Pack 2581Z00130...
  • Page 3 D 112 BEDI EN U N GS AN L E I T U N G S . 2 ..Bitte vor Inbetriebnahme des Gerätes lesen! USER I N ST RU C T I O N S p .
  • Page 13 1,8 mV/Pa (-75 dBV re 1V/Pa)
  • Page 14 SA 15 stand adapter 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 sales@akg.com.
  • Page 16 Lemböckgasse 21–25, A-1230 Vienna/AUSTRIA, phone: (+43-1) 86654-0* e-mail: sales@akg.com For other products and distributors worldwide visit www.akg.com 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 a mudanças sem aviso prévio.
  • Page 17 D 40 BEDIENUNGSANLEITUNG S. 2 ..Bitte vor Inbetriebnahme des Gerätes lesen! USER INSTRUCTIONS p. 13 ....Please read the manual before using the equipment! MODE D’EMPLOI p.

  • Page 18: Table Of Contents

    Table of Contents Page 1 Precaution/Description .................14 Precaution ..................14 Packing List ..................14 Optional Accessories................14 Features ....................14 Brief Description .................15 2 Interfacing ....................16 3 Using Your Microphone .................17 Introduction..................17 Saxophone..................17 Trumpet .....................18 Guitar Amp..................19 Tom-toms, Roto-toms, Snare Drum ............19 Bongos, Congas, Timbales..............20 4 Cleaning....................21 5 Troubleshooting ..................22 6 Specifications ..................23...

  • Page 19: Optional Accessories

    • Check that the packaging contains all of the components listed above. Should anything be missing, please contact your AKG dealer. Optional Accessories • For optional accessories, refer to the current AKG catalog or folder, or visit www.akg.com. Your dealer will be glad to help. Features •...
  • Page 20 1 Description H 440 bracket allows you to clamp the microphone directly on the top hoop of a tom-tom, snare drum, roto-tom, etc. The fre- quency independent cardioid pickup pattern of the D 40 en- sures high gain before feedback. The D 40 is fitted with a shock absorbing inner grille that protects the transducer against dam- age.
  • Page 21 2 Interfacing 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 or an un- balanced microphone input. • To connect the microphone to a balanced input (XLR con- nector), use a commercial XLR cable.
  • Page 22 3 Using Your Microphone The best way to get the “right” sound is to experiment with mi- Introduction crophone placement.The following sections contain useful sug- gestions. Please note that moving the microphone closer to the instru- ment will boost the bass range. (This is known as “proximity ef- fect”.) Saxophone Fig.
  • Page 23 2 inches to the microphone in order to avoid getting feedback or spillover from other instruments. In this situation, make sure not to blow right into the microphone. If you get too much blowing noise, use an extra windscreen, e.g., the optional W 880 from AKG. D 40...
  • Page 24 3 Using Your Microphone Guitar Amp Fig. 3: Microphone placement for a guitar amp. Refer to fig. 3. Loudspeakers radiate high frequencies within a very narrow an- gle. Place the microphone about 2 to 6 inches in front of the loud- speaker diaphragm and aim the microphone at the center of the diaphragm.
  • Page 25 3 Using Your Microphone Refer to fig. 4 3. Engage the top groove of the H 440 bracket in the top hoop on page 19. from above. 4. Engage the lower arm of the H 440 bracket in the underside of the top hoop.
  • Page 26 3 Using Your Microphone degrees and aim them at the perimeter of the top head. Experiment to find out at what working distance you get exactly the amount of attack you want. The closer you place the micro- phone(s), the punchier the sound will get. To mic up timbales or similar drums with a top hoop, you may See also section 3.5.
  • Page 27 5 Troubleshooting Problem Possible Cause Remedy No sound. 1. Power to mixer and/or 1. Switch power to mixer amplifier is off. or amplifier on. 2. Channel or master fader 2. Set channel or master on mixer, or volume fader on mixer or vo- control on amplifier is at lume control on ampli- zero.

  • Page 28: Frequency Response

    245 g (8.7 oz.) / 380 g (13.4 oz.) 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 sales@akg.com. Frequency Response Polar Diagram...
  • Page 29 Lemböckgasse 21–25, A-1230 Vienna/AUSTRIA, phone: (+43-1) 86654-0* e-mail: sales@akg.com For other products and distributors worldwide visit www.akg.com 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 a mudanças sem aviso prévio.
  • Page 30 C 430 BEDIENUNGSANLEITUNG S. 2 ... Bitte vor Inbetriebnahme des Gerätes lesen! USER INSTRUCTIONS p. 10 ....Please read the manual before using the equipment! MODE D’EMPLOI p.

  • Page 31: Features

    Check that the packaging contains all of the com- ponents listed above. Should anything be miss - ing, please contact your AKG dealer. 1.3 Features • Rugged condenser microphone for instrument miking on stage. • Flat frequency response ideally suited for overhead miking of cymbals and hi-hat.
  • Page 32 1 Description 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.

  • Page 33: Interfacing

    2.2 Input with 1. Use an XLR cable (e.g., the optional MK 9/10 Phantom Power from AKG) to connect the microphone to a Refer to fig. 1. 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.)
  • Page 34 Using any power supply other than those Important! recommended by AKG may damage your microphone and will void the warranty. You may connect AKG phantom power supplies 2.4 Unbalanced to unbalanced inputs, too. Input Fig. 2: Connecting to an unbalanced input.

  • Page 35: Using Your Microphone

    Fig. 3: Overhead miking of cymbals. 1. Mount the microphone on a boom stand (e.g., the optional ST 102A from AKG). Refer to fig. 3. 2. Place the microphone above the cymbal at a distance roughly equal to the radius of the cymbal.

  • Page 36: Cleaning

    3.3 Hi-hat Fig. 4: Miking up the hi-hat. 1. Mount the microphone on a boom stand (e.g., the optional ST 102A from AKG). Refer to fig. 4. 2. Place the microphone approximately 2 inches above the open hi-hat. 3. Align the microphone with the perimeter of the cymbals.

  • Page 37: Troubleshooting

    5 Troubleshooting Problem Possible Cause Remedy No sound: 1. Power to mixer 1. Switch power to and/or amplifier is mixer or amplifier off. 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.

  • Page 38: Specifications

    32 g (1.1 oz.) / 192 g (6.8 oz.) 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 sales@akg.com Frequency Response Polar Diagram...
  • Page 39 AKG Acoustics GmbH Lemböckgasse 21–25, 1230 Vienna/AUSTRIA, phone: (+43-1) 86654-0* e-mail: sales@akg.com For other products and distributors worldwide visit www.akg.com ROHS OK 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 sujei- tas a mudanças sem aviso prévio.

This manual is also suitable for:

Rhythm pack d 430D 40

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