Find great deals for AKG D – Classic Dynamic Microphone – Vintage. Shop with confidence on eBay!. Vintage AKG D microphone in excellent condition for sale. This mic is part of the incredible line of D series, which also featured the D This design. I’ve been getting my hands on some really fun old mics. First the SM56, then the MDU-5, and now this AKG D “Rocket”. This mic was.
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It also seems to lead to a more fragile mic, with many complaints online of D’s being sold with busted LF elements.
The D is an odd little duck. If you value this resource, you can support this project – it x202 helps! Applications The D performs well in all the areas where dynamic mics are traditionally preferred, such as close-miked drums, percussion and amplifiers, but it can also be used to good effect in the recording akb brass and reed instruments, or the larger stringed instruments in multi-mic orchestral sessions.
Gear in this article: Within the two-way transducer system, the low frequency diaphragm handles only the akv to Hz region, while the high frequency unit mounted in front of it, takes over from Hz up to the nominal 20 kHz upper limit of the response. A hum compensation coil is featured, to assist in rejecting induced interference, while mechanical noise, handling noise, floor vibration etc, or unwanted low frequency signal components, can all be reduced by a 50 Hz cut d2022, which has -7 and dB positions.
Again, the MD shows what a champ it is dealing with plosives, the suffering through almost as much as a naked SM No fun at all The D shares most of the inherent qualities that have made the D popular in the broadcasting field, although its rather more stylish, but unobtrusive appearance suggests a greater suitability for TV work.
Also, I just want to thank coutant.
AKG DE1 & DE Microphones (HSR Jun 84)
High frequency sound is captured under the nose cone, low frequency sound captured by the Zkg connector, and the two elements communicating over a cross over which runs the length of the mic. This mic was given to me from a friend who runs a studio. Review by Dave Lockwood. Both these microphones use the ‘two-way’ technique developed by AKG as long ago asin which separate transducers are used for high and low frequencies, the outputs of the two elements wkg phased together by a built-in crossover network.
I think the D is a little closer to accurate, but reality is probably somewhere in between the and the Conclusions These versatile AKG models offer a high quality audio performance, suitable for coincident-pair recording or close-miked techniques, combined with the intrinsic ruggedness and user convenience of dynamic mics. A well controlled cardioid pick-up pattern is produced, in which the frequency response is independent of working distance, and off-axis colouration is minimised.
I don’t think it’s particularly honest anymore, but as an effect mic, or on certain voices or instruments, it still delivers an interesting sound. Thanks for the comment, Methode! However, the D, despite a styling and finish that give it the appearance of a scaled-downis not able to offer the same level of performance. The D performs well in all the areas where dynamic mics are traditionally preferred, such as close-miked drums, percussion and amplifiers, but it can also be used to good effect in the recording of brass and reed instruments, or the larger stringed instruments in multi-mic orchestral sessions.
The mic is well suited to a wide variety of applications; the BBC, for example, uses s extensively for speech pick-up, while in recording studios it is frequently encountered in use as a bass drum mic, where the smoothness of the bottom end of its response assists in achieving a ‘tight’, well controlled bass drum sound.
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Although it is sometimes criticised as having a rather characterless or unexciting sound, I have always found the D to be a most useful and versatile mic, with a response that is well suited to many practical recording situations.
Operating on the ‘pressure-gradient’ principle, which exposes both sides of the diaphragm to sound pressure in order to achieve a directional effect by various phase cancellations, these models have additional rear ports or openings, near the base of the microphone body which provide a long low frequency rear sound path to eliminate proximity effect the rise in bass response normally exhibited in close-up use of a cardioid mic. The overall performance could be described as quite smooth and refined for a dynamic mic, with speech and acoustic instruments sounding clean and uncoloured, and percussion in particular having a fine incisive quality.
Subjectively the D has a rather ‘neutral’ tonal character, with no particularly prominent mid-band colourations, and a response that seems well extended at both extremes, but particularly smooth at low frequencies.
This process leads to a directional mic with almost no proximity effect. A wide-range dynamic, like thecan sometimes be usefully employed in preference to a condenser mic, for situations where the natural transient and frequency response of the condenser might result in a sound that is too ‘hard’ or ‘brittle’, such as with some types of tuned percussion notably vibes and with certain brass instruments, where overemphasis of upper harmonics, caused by close-miking, can cause much of the ‘warmth’ of the sound to be lost.
The design utilises a hum-cancelling coil to reduce external field interference.
They don’t call it “The Rocket” for nuthin. The absence of any proximity effect is also useful in this application, as the bass response does not alter when the distance between the mic and the drum head is changed, so it’s easy to aky with different mic positions inside or just outside the bass drum.