Dieses Produkt entspricht den in der Konformittserklrung angegebenen Normen. Sie knnen die Konformittserklrung auf http://www.akg.com oder per E-Mail an sales@akg.com anfordern. Frequenzkurve Polardiagramm

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Table of Contents

Page Welcome!....Safety and Environment....13 1.1 Safety....13 1.2 Environment....13 Description....14 2.1 Packing List...14 2.2 Optional Accessories...14 2.3 Microphone...14 Interfacing...15 3.1 General....15 3.2 Balanced Input with Phantom Power...15 3.3 Balanced Input with No Phantom Power...15 3.4 Unbalanced Input...15 Using the Microphone...16 4.1 Mounting....16 4.1.1 Mounting the Gooseneck Crosswise...16 4,2 Speech...17 4.3 Snare Drum...18 4.4 Saxophone....18 4.5 Acoustic Guitar....18 4.6 Spot Miking...19 Cleaning....19 Specifications....20

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Welcome!!
Thank you for purchasing an AKG product. This Manual contains important instructions for setting up and operating your equipment. Please take a few minutes to read the instructions below, particularly section 1 Safety and Environment, carefully before operating the equipment. Please keep the Manual for future reference. Have fun and impress your audience!

1 Safety and Environment

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. When scrapping the equipment, separate the case, circuit boards, and cables, and dispose of all components in accordance with local waste disposal rules. The packaging of the equipment is recyclabe. To dispose of the packaging, make sure to use a collection/recycling system provided for that purpose and observe local legislation relating to waste disposal and recycling.
1.1 Safety 1.2 Environment

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2 Description
2.1 Packing List C 747 V11 microphone H 47 microphone clamp MSH 70 gooseneck (5.5 in. / 140 mm) SA 47 stand adapter SA 80 clamp SHZ 80 screw link Foam windscreen
2.2 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. 2.3 Microphone 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.

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3 Interfacing
The C 747 V11 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 You can connect the microphone to balanced microphone inputs with or without phantom power. AKG phantom power supplies allow you to connect the microphone to unbalanced inputs as well. Refer to sections 3.2 and 3.3 below.

3.1 General

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 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. Refer to fig. 1.
3.3 Balanced Input with No Phantom Power Refer to fig. 1 above. 3.4 Unbalanced Input
Fig. 2: Connecting to an unbalanced input. 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. Refer to fig. 2 above.

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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. To fix any of the supplied mounting accessories to a 5/8" thread, use a commercial 3/8" to 5/8" thread adapter.
SHZ 80 Fig. 3: Clamping the microphone on a desktop. Fig. 4: Clamping the microphone on a floor stand. Refer to figs. 3 and 4. 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.
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. a 1 b
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.

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Due to its reduced size and slight presence rise the C 747 V11 is an excellent choice for speech miking in conference and discussion situations as well as radio, TV and recording studios. 4.2 Speech
Fig. 6: Mounting the microphone on a table stand. 1. Mount the microphone on a table stand, e.g., an ST 46 (optional). 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. MSH 70 H 47 Refer to fig. 6.
SA 80 Fig. 7: Clamping the microphone on a desktop.
Fig. 8: Mounting the microphone on a table stand. 1. You can use the SA 47 stand adapter to mount the microphone on a table stand. 2. Place the microphone about 1 foot/30 cm in front of the talker. Refer to fig. 8.

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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.
The saxophone radiates all of its frequencies within the 3-dB band from the bell. Refer to fig. 10a. Refer to fig. 10b. 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. 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 spectrum of the classical guitar's tone, aim the microphone at a point near the bridge. That is where the overtones determining the instrument's specific timbre are at their loudest, reinforced by the vibration of the top.

4.5 Acoustic Guitar

Fig. 11: Recommended microphone position for an acoustic guitar.

Shotgun Microphones

Conference and lectern Houses of worship Theater, onstage miking Broadcast and recording
Immune to RF interference Speech optimized frequency range Enhanced hypercardioid polar pattern High SPL capability Premium microphone for ubiquitous application

C 747 V11

A History of Sound: The C 747, the so called pencil microphone, was first built in 1987. Due to its excellent technical specifications, especially the wide and flat frequency range, it was used for the recording of all kinds of musical instruments, even those with very low frequencies. Because of its brilliant sound reproduction and its inconspicuous optical appearance, it was quickly known as an ideal overhead microphone. Thank to the narrow polar pattern it solved the crosstalk problem (when recording multiple instruments at once) and the problem of picking up sounds from distant spots in a room. But for all that, due to the help of the acoustically well balanced, short interference tube, it didnt face one of the biggest problems of most shotgun microphones the change of the polar pattern over the frequency. This is one of many reasons why this microphone found its way into a great number of Broadcast Stations, Recording Studios, Theatres, Opera Houses, Churches, Conference Rooms and Lecture Halls. Another big advantage of the C 747 is that the microphone will not change the sound or level too much even when the person speaking is moving a lot. So it came that the C 747 finally found its way into installed sound systems as a perfect speech and lectern microphone. The C 747 is now one of the most versatile microphones in the AKG product range and over the years it has been available in various versions and model types such as hanging module, capsule for modular gooseneck microphones and in a boundary layer microphone. Whats New in V11: As it is more and more used in conference applications, we carefully redesigned the C 747 to better cope with some specific installed sound issues. The new C 747 V11 will have an integrated RFi shield to block out unwanted interference by mobile phones, wireless mics and the like. Also we have fine tuned the frequency response to give especially the spoken word an outstanding presence, without changing the flavour of the classic C 747 sound. An enhanced polar pattern provides consistent off-axis rejection to control ambient noise and feedback in acoustically difficult environments. This makes the C 747 V11 an excellent choice for noisy discussion groups or reverberant pulpits while it is forgiving enough to clearly pick up talkers moving around in front of the microphone. A switchable LF roll-off filter suppresses mechanical noise. The low-impedance transformerless preamp operates on 9 to 52 V phantom power. The C 747 V11 ships with an extensive accessory set including a shock mount/adapter, mini gooseneck, stand adapter, mounting clamp, thread link, and windscreen.
Architects and Engineers Specifications
The microphone shall be a directional condenser type utilizing a combination of gradient and interference actions to produce a well defined hypercardioid polar pattern. The microphone shall be no larger in diameter than 0.35 in. (9 mm), and the finish shall be matte black. On-axis frequency response shall be maintained within the range of 30 Hz to 18 kHz, as measured at 1 meter. Microphone sensitivity shall be at least 8.5 mV/Pa, and the self A-weighted noise level of the microphone shall be no higher than 21 dB. The microphone shall operate in a sound field of 133 dB-SPL with no greater than 1% THD. The microphone shall operate on phantom powering, covering the range from 9Vdc to 52Vdc. The microphone shall be the AKG Acoustics Model C 747 V11
Specifications: Polar pattern: Frequency response: Sensitivity: Impedance: Equivalent noise level: Signal/Nose ratio: Maximum SPL: Powering: Current consumption: Cable: Finish: Dimensions: Net/shipping weight: Item number: hypercardioid 30 Hz to 18,000 Hz 8,5 mV/Pa (-42 dBV) < 400 ohms 21 dB-A 73 dB (A-weighted) 133 dB 9 to 52 V phantom power (DIN 45596) < 2 mA 3 m (10 ft.) matte black 9 dia x 137 mm (0.35 dia. x 5.4 in.) 25 / 750 g (0.9 oz./1.7 lbs.) 2226Z00110