Akg PERCEPTION 200, PERCEPTION 100 User Manual

User Instructions

Please read the manual before using the equipment!

PERCEPTION

100

PERCEPTION

200

1

Precaution/Unpacking

1.1 Precaution

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.

1.2 Unpacking

Check that the packaging contains all of
the items listed for your microphone.
Should any item be missing, please con­tact your AKG dealer.

PERCEPTION

100: • Microphone

• Stand adapter

• Mini poster

PERCEPTION

200: • Microphone

• Spider suspension

• Carrying case

• Mini poster

2 Description

2.1 Introduction

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 carefully before operating the
equipment and keep the Manual for

future reference. Have fun and impress
your audience!
The

PERCEPTION

100 and

PERCEPTION

200 are heavy-duty, rugged true con-

denser microphones built to the same
strict quality standards as all other AKG
products.
Designed on the basis of AKG’s decades
of know-how and feedback from sound
engineers around the world using AKG
studio microphones every day, these
general-purpose 1-inch large-diaphragm
microphones bring AKG studio quality to

the worlds of recording, live sound, and
broadcasting.

2.2 Common Features

The

PERCEPTION

100 and 200 share the

following features:

• Cardioid polar pattern: The micro­phone is most sensitive to sounds
arriving from in front of it while pick­ing up much less of sounds arriving
from the sides or rear (from monitor
speakers or neighboring instru­ments). This makes the microphone
equally suited for recording and
onstage use.

• Gold-sputtered diaphragm: The
diaphragm is made of a plastic foil
that is gold-sputtered on one side
only to prevent shorting to the back
electrode even at extremely high
sound pressure levels.

2

PERCEPTION

100/200

• All-metal body: The all-metal body
adds to the rejection of RF interfer­ence so you can use the microphone
near transmitter stations and along
with wireless microphones or other
communications equipment. The
extremely rugged, heavy body and
sturdy front grill protect the micro­phone from damage from tough han­dling on stage.

• High headroom, minimum distor-
tion: Capable of handling sound
pressure levels up to 135 dB without
introducing perceptible distortion and
built to resist high temperatures and
humidity, the microphone will give
excellent results in a wide range of
applications.

2.3

PERCEPTION

200

Added Features

The

PERCEPTION

200 is basically identi-

cal to the

PERCEPTION

100 but provides

the following additional features:

• Bass cut filter: Selector 1 on the
microphone front (refer to fig. 1) fur­ther reduces low-end distortion caus­ed by footfall or wind noise, etc. The
filter also minimizes the proximity
effect that close-in miking from less
than 4 inches causes in any unidirec­tional microphone.The filter rolls off at
12 dB/octave from 300 Hz down­ward.

• Switchable preattenuation pad:
Selector 2 on the microphone front
(refer to fig. 1) lets you increase the
headroom by 10 dB for distortion­free close-in recording. The preatten­uation pad prevents the micro­phone's output level, particularly at
low frequencies, from overloading the
miniature transformers used in many
mixer input stages, etc.

3

PERCEPTION

100/200

Fig. 1: Bass cut and preattenuation
switches on

PERCEPTION

200 front.

1 2

2.4 Optional Accessories

• B 18 + A 48V battery supply and
DC/DC converter for 48-V phantom
powering

• PF 80 studio pop screen

• ST 305 floor stand

• W 4000 external windcscreen

3 Interfacing

3.1 General

Section 3 applies to both the

PER-

CEPTION

100 and the

PERCEPTION

200.

The microphone uses a true condenser
transducer designed for 48-volt phan­tom powering to DIN 45 596/IEC 268-15.

Neither the diaphragm nor the backplate
are permanently polarized, so the micro­phone needs an external power supply.
The microphone provides a balanced
output on a 3-pin male XLR connector:

Pin 1: ground
Pin 2: hot
Pin 3: return

4

PERCEPTION

100/200

2.2

2.3

Mic

Mic

Phantom

Fig. 2: Connecting to a balanced input with (2.2) or without (2.3) phantom power.

1

2

You can connect the microphone either
to a balanced microphone input with or
without phantom power or an unbal­anced microphone input.

3.2 Input with Phantom Power

Refer to fig. 2 on page 4.

1. Use an XLR cable to connect the
microphone (1) to a balanced XLR in­put with phantom power.

2. Switch the phantom power on. (Refer
to the user manual of the unit to which
you connected your microphone.)

3.3 Input with No Phantom Power

Refer to fig. 2 on page 4.

• If your mixer provides no phantom
power, connect an optional AKG

B 18 + A 48V phantom power sup­ply (2) between the microphone and

the mixer.

Important: Using any power supply

other than those recommended by
AKG may damage your micro­phone and will void the warranty.

3.4 Unbalanced Input

Refer to fig. 3.
Use a cable with a female XLR connec-

tor and TS jack plug:

1. On the XLR connector, use a wire
bridge to connect pin 1 to pin 3 and
the cable shield.

2. Connect the inside wire of the cable
to pin 2 on the XLR connector and
the tip contact of the jack plug.

5

PERCEPTION

100/200

Fig. 3: Connecting to an unbalanced input.

Mic

Phantom

21