AKG D112 MANUAL PDF

Kizragore AKG D Specifications Specifications Description The pop recording industry often prefers selected models of dynamic microphones for the pickup of closely spaced bass drums and bass guitar amplifiers. Posted on Jan 09, Be the first to answer. Who can I trust to service or sell grills? That mic just sounds mabual. Posted on Nov 22, Be the first to answer.

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Its familiar ovoid shape was a common sight in recording studios and on the live stage. A quick comparison of the specs of the original and the MKII suggest that the only real difference is the stand mount.

This is quite a significant improvement because the biggest problem with the original D was the stand mount. Basically, the shaft of the microphone was only slightly wider than the male XLR connector it housed, which made it much narrower than most common microphones. This meant you had to use the narrow AKG microphone clip that came with it to mount it correctly. This resulted in the original D often being tricky to mount precisely.

So the MKII is similar to the original insofar as the stand mount projects down from the centre of the microphone, however it now houses a standard screw thread enabling it to be connected directly to the microphone stand, obviating the need for a clip. The joint is reassuringly stiff, suggesting that once positioned it is unlikely to wander.

The specs of the MKII are almost identical to the original — the bandwidth is 20 to 17,Hz, the sensitivity is 1. Like its predecessor it can handle levels in excess of dB SPL before distortion occurs, it has a cardioid polar pattern and the frequency response trace and polar plots are identical to the original.

In Use The microphone was easy to mount on a short boom stand and straightforward to position. I tried it out at two very different gigs — one was in a small London venue and the other was a large outdoor festival. In the small venue it sounded pretty good as soon as I brought the fader up; it just needed a little boost at 50Hz to bring out the bottom end due to the less than stellar bottom end of the PA system. That was all the EQ I required to get a solid kick drum sound that worked well with pop, rock and indie bands.

At the large outdoor festival I had a small issue with positioning the microphone as the kit was sitting very close to the front of the rolling riser, which prevented me from placing the microphone stand on the riser. When I brought the fader up it sounded good on the large system an Adamson E12 line array with T12 subs , presenting a solid bottom end, a smooth middle and a well defined top end; the only EQ I applied was a cut in the lower mid region i.

So there are no real surprises here; regular users of the D will be unlikely to notice any difference in the sound of the MKII, while the new stand mount is a big improvement on the original design and should ensure the solid and consistent sound that has made the D an industry standard. Key Features.

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