User manual AKG C 410

[. . . ] Connect the phantom power adapter (1) on the microphone cable to a balanced XLR microphone input with phantom power. (Refer to the instruction manual of the unit to which you connected your microphone. If your mixer provides no phantom power: Connect the phantom power adapter (1) to an optional AKG phantom power supply (2) (N 62 E, N 66 E, B 18, B 15) and use an XLR cable (3) (e. [. . . ] If your mixer provides no phantom power: Connect the phantom power adapter (1) to an optional AKG phantom power supply (2) (N 62 E, N 66 E, B 18, B 15) and use an XLR cable (3) (e. , an optional MK 9/10 from AKG) to connect the phantom power supply to the desired balanced input. You may connect the phantom power supply (2) to unbalanced inputs, too. On the XLR connector (4), use a wire bridge to connect pin 1 to pin 3 and the cable shield. Note: Unbalanced cables may pick up interference from stray magnetic fields near power or lighting cables, electric motors, etc. This may introduce hum or similar noise when you use a cable that is longer than 16 feet (5 m). The optional B 29 L battery supply allows you to connect the microphone to balanced or unbalanced inputs with no phantom power. Push the mini XLR connector (1) on the microphone cable into one of the two mini XLR sockets on the B 29 L (2) to the stop. If you get too much wind noise, aim the microphone at the rim of the bell and/or slip the supplied external windscreen on the microphone. 6 Trumpet If you use a mute, be sure to position the microphone outside of the bell to clear the mute. If you get too much wind noise, slip the supplied external windscreen on the microphone. Note: Note: If you use a mute, be sure to position the microphone outside of the bell to clear the mute. If you get too much wind noise, slip the supplied external windscreen on the microphone. The best way to capture the full range of the piano is to use two microphones: 1. Clamp the second microphone on the frame strut in the octave above Middle C. You can reduce mechanical noise from the dampers by switching in the highpass filters on both microphone channels. [. . . ] The best way to capture the full range of the piano is to use two microphones: 1. Clamp the second microphone on the frame strut in the octave above Middle C. You can reduce mechanical noise from the dampers by switching in the highpass filters on both microphone channels. [. . . ]