AKG Acoustics WMS 4000, WMS 40, WMS 400 User Manual

WMS 40

WMS 400

WMS 4000

Wireless Microphone Systems

Everything you've always wanted to know about AKG WIRELESS TECHNOLOGY.

As more and more affordable wireless equipment became available, the demand for high quality single and multichannel wireless systems for sound companies, conference centers, public buildings, and live sound grew sharply, too. AKG responded to this trend early on,

developing a specific line of products and accessories that provides a professional solution for every application.

This brochure explains the way wireless systems work to provide a better understanding of how to make optimum use of

RF technology in day-to-day work. It contains many helpful tips and tricks for both professionals and first-time users. Wireless equipment from AKG will provide a professional solution for any application. This brochure makes it easier to get the best possible results.

A PIONEER IN ACOUSTICS FOR OVER 50 YEARS

WIRELESS TECHNOLOGY FOR THE FUTURE

www.akg.com 1

“When it comes to studio, broadcast, or live sound equipment, choose AKG. The engineering competence and worldwide reputation of the AKG brand give you the confidence of using equipment meeting the highest standards of quality and reliability.”

Dr. Hugo Lenhard-Backhaus, CEO, AKG Vienna

For more than five decades, AKG has been a leading manufacturer of studio microphones, broadcast and live sound equipment, as well as headphones to the highest standards of quality and reliability.

The resulting experience and engineering know-how are the foundation of the unique sound of AKG products as well as the

reputation and popularity of the legendary AKG brand. Today, AKG products are available throughout the world and have become a standard in many radio and TV studios.

Did you know that according to the 1990 Billboard Survey every US recording studio uses at least one AKG product?

Should you find no product for your specific application in this brochure, please post to the AKG Forum at www.akg.com.

We also appreciate any suggestions for improvements, new products, or other ideas you may post to our Microphone Forum.

AKG Facts & Figures:

• Established in Austria in 1947

• Founders: Rudolf Görike and Ernst Pless

• AKG grew from a two-man company into a multinational company

• AKG has applied for more than 1,400 patents worldwide

• AKG is a leading audio manufacturer with one of the most advanced acoustics labs in Europe

AKG PREFACE

How it all started …

A word to skeptics from the outset: the history of AKG is simply too good to have been just made up!

1945: In a setting reminiscent of “The Third Man”, two men who had occasionally done business with one another before World War II met up again. They discovered that people sought distraction from the ruins around them at the movies, but that most of Vienna’s movie theaters had either been bombed or plundered. Thus there was a pressing need for good theater equipment. And so it was that Rudolf Görike and Ernst Pless conceived a new idea: “Let us go into business together.” This was the beginning of a success story that has already lasted over 50 years. Rudolf Görike started manufacturing movie pro-

jectors and loudspeakers, whilst Ernst Pless delivered their growing customer base by bicycle and rucksack. As the volume of orders grew, they even resorted to using a good old-fashioned wheelbarrow! Their first customers did not have any hard currency to pay them with, but they did have pork, butter and cigarettes – fresh from the black market and in great demand. 1947: The two pioneers decided to set up a company. Once all the preparations had been made, the company set up office in a basement in a suburb of Vienna and hired a staff of five employees.

Initially the range included products such as exposure meters, car horns, intercom systems, carbon capsules and auxiliary handsets for telephones, pillow loudspeakers, and many other appliances that seem curious to us today. The

product range was continually adapted to meet demand.

Meanwhile Rudolf Görike, a gifted drawer and painter, created a logo for the company. It was he who designed the products, bubbling over with new ideas and applying for several patents in quick succession. Before World War II, he had been involved with microphones as development manager with the firm of “Henry Radio”. His hobby remained his profession, and he was finally able to put his ideas for new technologies into practice.

The first AKG microphones went into service the same year, mainly with radio stations, at theaters, cabarets and jazz clubs. The AKG Dyn Series, for example, was one such development: painstakingly assembled by hand, it would be simply unaffordable today.

A PIONEER IN ACOUSTICS FOR OVER 50 YEARS

AKG - A LEGENDARY BRAND

2 www.akg.com

The logo

The first AKG logo with three overlapping rings (symbolizing the typical omnidirectional polar pattern of the time) was designed by company founder Rudolf Görike. With the introduction of the AKG D 12 – the first microphone with a cardioid polar pattern – in 1953, the three rings were replaced with three cardioids. Apart from slight modifications, this logo has remained in use to this day, and is the guarantee of AKG’s legendary quality the world over.

Die DYN Series

AKG developed its first dynamic microphones in 1946. With an annual production of 500 to 600 units, every single component was manufactured by hand and a wide variety of designs produced in the “DYN” series – DYN 60, DYN 60 G, DYN 60 K (see illustration), DYN 60 Studio, etc. The original microphones in this series have since become collectors’ items.

K 120 DYN

The first AKG headphones bearing the designation K 120 DYN were launched in 1949. They were equipped with a Trolitul diaphragm of molded granulate, since foils were not yet available. At the time AKG had only one winding machine and one gluing machine.

The founders: Dr. Rudolf Görike and Ing. Ernst Pless

“The past is of no interest to me. I always look ahead – to the future…” commented AKG co-founder Rudolf Görike some years ago. At the time he was already over 80 years old!

AKG HISTORY

www.akg.com 3

The early products

In 1945 the company began supplying technical equipment such as movie projectors and loudspeakers to Vienna movie theaters. The PC 2535 G horn-loaded theater loudspeaker with a cardboard diaphragm, for instance, was manufactured in a living room.

The company name

The founders considered calling their company “Phonophot”, but because of its similarity with another name, they opted for “Akustische- und Kino-Geräte“, or AKG for short. Acoustic equipment became more and more predominant, and in 1965 theater equipment was dropped from the range entirely and the name changed to “AKG Acoustics”.

1945 Rudolf Görike and Ernst Pless start supplying Vienna movie theaters with

equipment 1947 Rudolf Görike and Ernst Pless set up AKG 1953 World’s first single-diaphragm dynamic cardioid microphone (D 12)

Manufacture of the famous C 12 large-diaphragm condenser microphone

Founding of a German subsidiary 1954 World’s first single-diaphragm dynamic cardioid microphone 1955 World’s first remote-controlled multipattern dynamic microphone (D 36) 1956 Professional cardioid microphone with variable rear sound entry to reduce

proximity effect (D 24, D 19) 1959 World’s first supra-aural headphones (K 50) 1960 Design of the first professional small-sized condenser microphone (C 60) 1965 Manufacture of movie theater equipment discontinued in favor of audio pro-

ducts 1966 World’s first two-way cardioid microphones (D 202, D 224)

World’s first wide-band ultrasonic transducer (CK 40) 1969 Founding of a British subsidiary

Design of the first modular condenser microphone

(CMS system including C451, CK 1, etc.) 1970 World’s first portable professional reverberator (BX 20) 1973 Her Majesty’s Post Office issues a 3 p stamp to commemorate the BBC's 50th

anniversary showing the BBC’s standard microphones, all of them AKG models 1974 AKG applies for its thousandth patent 1975 Introduction of AKG multidiaphragm headpones (K 240) 1976 Introduction of AKG TS System (Transversal Suspension) for phono cartridges

(P8 ES etc.) 1977 Miniature studio condenser microphone with 6 mm capsule and self-polarized

diaphragm

New compact reverberation unit (BX 5) 1978 World’s first dynamic/electrostatic headphones (K 340) 1979 World’s first modular digital time delay unit (TDU 7000)

Vocal microphones combining extreme ruggedness with studio-standard

sound quality (D 300 Series)

Founding of a Japanese subsidiary 1981 Digital/analog reverberation unit (BX 25 ED) 1982 World’s first compact dynamic/electrostatic headphones (K 4) 1983 New “digital-ready” modular condenser microphone system providing for

capsule/preamp interface via cable up to 200 ft long (C 460 + CK 1X, CK 2 X) 1984 Stock exchange floatation of AKG Holding AG, which holds 75% of the shares

of AKG Ges.m.b.H. 1985 Founding of a US subsidiary (March 1985) 1986 Acquisition of Ursa Major -> founding of the Digital Products Division

of AKG Acoustics

Introduction of C 1000, the first condenser stage microphone with a convertible

polar pattern and alternative phantom or 9 V battery power supply 1987 Introduction of the “K 280 Parabolic” headphones

Introduction of the DSP 610, a Delta Stereo Processor for setting up

“Delta Stereophony" sound systems 1988 Introduction of the MicroMic Series

Founding of AKG Acoustics (India) Ltd. 1989 Introduction of the “CAP 340 M” Creative Audio Processor

Introduction of the DSE 7000 Digital Sound Editor

Introduction of the K 1000 headphones for binaural listening

Acquisition of Orban and dbx Professional Products

AKG Acoustics (India) Ltd. admitted to Indian stock exchange 1990 Development and manufacturing of IXT transducers for telephones

Development of a compact version of the CAP 340 M for "Audimir" space

project

Merger of SCJ and AKG Japan

AKG acquires controlling interest in three UK companies: BSS Audio Ltd.,

Turbosound Ltd., Precision Devices Ltd. 1991 20% stake in CeoTronics/Germany, 30% stake in AMEK Technology Group

PLC/UK, the holding company which owns AMEK Systems & Controls Ltd.,

and TAC Total Audio Concepts Ltd.

New product line of integrated handsets (IHA) for telephones

Founding of “AKG Communications France”

“Audimir” space project – first investigation of the basic mechanisms of

acoustic orientation under zero-gravity conditions

Introduction of the WMS 900 and WMS 100 Wireless Microphone Systems

Introduction of the new "K Series" generation of headphones

Alliance with Lectrosonics/USA for sound reinforcement products

Alliance with Direct Research/Germany 1992 AKG acquires a 51% interest in its affiliate AKG Acoustics (India) Ltd.

AKG acquires majority stake (79%) in Edge Technology Group/UK (Turbosound,

Precision Devices, BSS Audio)

Introduction of Tri-Power Series dynamic performance microphones

AKG Blue Line Series modular microphone system

C 547 boundary microphone

C 621, C 647 gooseneck microphones

Audiosphere BAP 1000 Binaural Audio Processor for Individual Virtual

Acoustics launched in Germany and Austria

Presentation of new sound reinforcement equipment

MAP Modular Audio Processor and AS 100

Introduction of TMS II Digital Telephone Measurement System

C 12 A

1962 saw the introduction of the C 12 A Nuvistor condenser microphone, an enhanced version of the C 12. The Nuvistor miniature tube technology made it possible to design even smaller high-quality large-diaphragm microphones. At the same time, the distinctive shape of the C 12 A body was the forerunner of the classic C 414: even today the design of the C 414 is an internationally admired and patented three-dimensional trademark.

C 12

1953 marked the birth of another AKG legend: with the development of the C 12, AKG introduced its first large-diaphragm condenser microphone with a remote-controlled polar pattern. Initially produced in batches of 50 units a month, the C 12 quickly became a top international product, being adopted by nearly all leading radio stations and recording studios. The first customers included the BBC in London, where the microphone’s design and quality made a deep impression.

K 180

In 1969 AKG developed the K 180, the first set of headphones with SCS – “Subjective Controlled Sound”: the sound could be varied by adjusting the speakers inside the earphones.

AKG HISTORY

The breakthrough

At the beginning of the 1950s, the two ambitious founders of AKG achieved a breakthrough with completely revolutionary technologies. They applied for patents for their moving coil technology and the principle of the mass loaded diaphragm. For the first time, they were successful in extending the frequency response to the bass range. Whereas previous microphones had given a strange shrill, hollow sound similar to that in old talking motion pictures, AKG technology now added warmth and volume to the sound.

In 1953 the first dynamic microphone started its conquest of world markets: the D 12 took studios, broadcasting stations, movies, theaters, public speaking places, etc. by storm. It was followed by two successors, and for more than a decade set the standards for voice miking.

The first notable successes in the field of condenser microphones were achieved soon afterwards. The C 12 tube microphone set new standards in the professional sector.

AKG engineers used the CK 12 microphone capsule for the equally successful C 12A and the C 24, a stereo version. Even in the 21st century, the capsule is one of the foremost

innovations from AKG. The newest version – the C 12 VR – also won the Tec Award for the year 1995.

The K 10 set a new milestone in the headphone market. This AKG product is still on the market today, and is used at the European Parliament, for instance.

Expansion course

Dynamic microphones for tape recorders formed the cornerstone of AKG’s German subsidiary, founded in 1955. Leading manufacturers of tape recorders such as Philips, Grundig, Uher, Loewe Opta, Nordmende, Telefunken and others all purchased their microphones from AKG. Since most of these customers were located in Germany, and it was difficult for AKG to supply them from an occupied Austria, some of the production facilities and the sales division were relocated, initially to Munich.

In the early years, AKG did not have its own sales network, using Siemens and other large companies as distribution partners. By the end of the 1950s, however, the company already had distribution partners in Europe and overseas. Thanks to Austria’s neutrality, the company was also able to establish links with the

countries of the former East Bloc. It was only during the 1960s that AKG also started to build up contacts in the Far East and Latin America. During the years that followed, AKG concentrated on studio products, and opened up a new market with portable reverb equipment.

By 1965 television had reduced the attraction of the big movie theaters so significantly that motion picture equipment was dropped from the production range entirely. From this time on, AKG engineers focused on their original strength: audio transducer technology. Top products soon followed in all areas, like the dynamic two-way microphone, the modular condenser microphone system (CMS) and the K 141, which was ideally suited for both studio use and for hifi equipment. The C 414 set yet another standard in studio recording.

At the beginning of the 1970s, pickups were added to the consumer product line, where AKG achieved success with a series of top quality models until the advent of the compact disc superseded the record player. AKG subsequently withdrew from this market segment.

A new and exciting product line was found in transistorized telephone handset capsules,

A PIONEER IN ACOUSTICS FOR OVER 50 YEARS

AKG - A LEGENDARY BRAND

4 www.akg.com

Rock me Amadeus

Falco, Austria’s most successful pop star to date – was a convinced and enthusiastic AKG user right from the beginning of his career. 1983 saw the relaunch of the legendary C 12 large-diaphragm tube microphone using the original 6072 tube – the “AKG Tube”.

Peter Wolf

With eight number one hits to his credit, Peter Wolf is one of the most successful Austrian composers and producers. Top acts he worked for include Jefferson Starship, The Commodores, Santana, The Scorpions, Frank Zappa, and many others.

AKG HISTORY

and these products rapidly became one of the mainstays of the company. AKG was also quick to introduce digital technology: the company made its debut at the 1980 Olympic Games in Moscow with the TDU 7000 time delay unit.

The turning point

1984 was a fateful year for AKG. The company went public on the Vienna Stock Exchange as a “blue chip”, and performed outstandingly for many years. At the same time, the owners of the company started to change, resulting in several different majority shareholders – major banks and private finance companies – in quick succession.

This went hand in hand with the company’s new policy of expansion. The acquisition of other firms with complementary products was intended to help AKG achieve its goal of becoming an all-round supplier. The turning point

came with the great recession and the collapse of various currency parities: the leading banks changed their strategies of maintaining industrial holdings. At the beginning of the 1990s, AKG reported a loss for the first time in its history. In 1993 Harman International Inc. acquired a 76 percent stake in the AKG Group, buying up the remaining 24 percent the following year.

This also obliged AKG to fall back on its traditional strengths. Today microphones, headphones, industrial and telecommunications products make up the company’s core business. The company’s success has proved that this was the right decision for AKG.

In 1996 AKG entered wireless technology, an entirely new segment, introducing first the WMS 300 UHF multichannel system, followed by the WMS 800 and WMS 900 models. This technology was entirely revolutionary at the

time, and was eagerly taken up for stationary applications such as conference centers and theaters. This encouraged AKG to start rounding out the range in the year 1999 by developing a series of mobile UHF and VHF wireless systems called WMS 60 VHF, WMS 80 UHF, WMS 61 VHF, WMS 81 UHF, as well as the IVM 1, AKG’s first in-ear monitoring system. The company also went on to develop wireless headphones, the youngest generation of which is also equipped with the latest Surround technologies.

In 2004, AKG products are available and popular all over the world. AKG Acoustics has become a leading manufacturer of audio products worldwide (more than 1,400 patents applied for). It is with good reason that countless professional and amateur users around the world rely on proverbial AKG quality.

www.akg.com 5

WMS 300

In 1996 AKG launched the WMS 300, its first UHF wireless microphone system. This UHF multichannel system convinced the experts not only with its sound, but also its innovative modular design with interchangeable microphone elements and a wide selection of accessories.

CK 77

In 1995 AKG introduced the CK 77/C 577, the world’s smallest dual-diaphragm microphone for theater, television and movie applications. This revolutionary dual-diaphragm technology made the microphone insensitive to impact noise, whilst the microphone’s compact dimensions made it virtually invisible when worn with makeup or costumes. In combination with WMS wireless technology, the mic opened up an almost unlimited number of applications in any live situation.

New research center

In 2001 AKG opened a new acoustics research center with Europe’s largest anechoic chamber (18 m3) at the company’s headquarters in Vienna. This is where AKG continuously develops new patents, and manufactures most of its high-quality products – some of them still assembled by hand – for exportation to all parts of the world.

1993 Introduction of the “Tri-Power C Series”

Introduction of the “K Series” headphones New AKG factory building completed The entire factory, storage facilities, and all production departments move to the

new premises Harman becomes new majority owner of AKG Ges.m.b.H. AKG Holding AG is delisted from the Vienna Stock Exchange Hendrik Homan becomes new Managing Director of AKG Vienna

1994 AKG founder Rudolf Görike dies

Harman purchases the remaining shares to make AKG a 100%-owned Harman International company

AKG moves to new premises in Vienna-Siebenhirten AKG Vienna assumes responsibility for Studer products in Austria Cell manufacturing established at AKG AKG expands its activities in the wireless market

1995 Introduction of the Performer Series, a range of affordable microphones for

Karaoke, home recording and upcoming musicians Introduction of the CK77, the smallest dual-diaphragm capsule in the world –

big in sound, smaller than a thumbnail in size New infrared headphones in "eargonomic" shape (K 444 IR, K 333 IR) World's first surround sound headphones (K 290 Surround) Introduction of IHA 90 integrated headset for computer communication Endorsement by “Simply Red”

1996 Introduction of WMS 300 – a newly developed UHF wireless microphone system

Endorsers Simply Red on worldwide tour with AKG WMS 900 Introduction of Mini Elf and City Elf, extremely lightweight headsets MicroMic Series II introduced Invention of new VARIMOTION™ SYSTEM diaphragm technology New range of high-quality headphones (K 501, K 401, K 301) Introduction of K 205 UHF headphones AKG nominated for European Design Award

1997 50th anniversary of AKG

Introduction of the SolidTube which makes the legendary AKG tube technology available at an attractive price!

AKG IVM 1 In-ear Monitor System using IVA Technology.

1998 The year of the Hearo 777: IVA technology for optimum surround sound

experience AKG WMS - multi-channel wireless microphone system Modular Discreet Acoustics Series for Conferencing Maximum mobility with the WLS 6060 MAX Introduction of the CS 1 conference system

1999 Introduction of the C 4000 B the world's first dual large-diaphragm system

WMS 80, WMS 61, WMS 81 wireless microphone systems bring new sounds for a wireless world

Hearo 999 Audiosphere for the optimum surround sound listening experience

2000 C 3000 B receives M.I.P.A. 2000 (Musikmesse International Press Award)

WMS 40: UHF system combining professional quality and exceptional cost efficiency

Launch of C 4500 B-BC Broadcasting Condenser Microphone

2001 C 3000 B becomes reference for Roland COSM microphone modeling

HEARO 777: world's first headphones using Logic7 technology C 451 B - new version of former C 451's WMS 40 PT MicroMic Series III, comprising four new models

2002 Introduction of the CS 2 Conference System

C 900 available as gold version and winner of the TEC Awards Q 1000 Array Microphone für Mercedes World Cup 2002 in Korea mit AKG

AKG HISTORY

The case for wireless mics

The popularity of wireless systems is growing continuously, and they are no longer found only at open-air events, in theaters, and conference centers. The increasing selection of small portable wireless systems is the key to virtually unrestricted wireless freedom even for amateur musicians and lowbudget users, opening up a huge diversity of applications.

The decisive factors behind the dramatic success of wireless systems are the easy handling and reliable, interference-free operation now offered by most of the mediumprice wireless systems available on the market today. In practice, however, wireless technology is often unreasonably put down when minimal technical conditions are not met, usually by people who do not know any better.

The following section examines the principles of trouble-free wireless transmission and

gives an insight into what is technically possible, and how to achieve the best results.

Just like a radio set

At first it may sound simplistic to maintain that the operation of a wireless system is almost as simple as that of a radio set. However, in practice closer inspection shows that this comparison is entirely appropriate. Everybody knows that the reception quality of radio signals depends not only on the location of the receiver, but also on the quality of the transmitter, i.e. whether or not you are inside a building, and which transmission frequency is selected (FM 100.4, for instance). If the reception is poor, the first thing we do is to try and change the position of the receiver (the radio set). Then we try to change the position of the antenna, and if none of these remedies helps, we try to receive the desired radio station on another frequency (FM 94.7, for instance). This is a perfectly normal procedure, and no one would think of calling a radio set defective or unre-

liable, simply because each of us can operate a radio with our eyes shut.

Since reasonably priced, high-quality wireless microphone systems have only been available to the general public for a few years, it will probably take a while for people to become as familiar with this new technology. However, the comparison with a radio set is particularly appropriate and helpful for the technically uninitiated, since most people are able to operate radio sets correctly thanks to their intuition and experience.

Radio waves instead of cables!

With wireless technology, radio waves are used instead of a microphone cable to transmit a signal. For this purpose, we need a transmitter that transforms the audio input signal (voice, instrument, etc.) into a UHF or VHF signal and broadcasts it just like a miniature FM radio station. The receiver then transforms this high-frequency UHF or VHF signal back into an audio signal and ampli-

Transmitter/receiver

The situation with a transmitter and a receiver can be compared to the transmission of a signal between a radio station and a radio set. When we encounter problems with reception, we will either reposition the antenna, or look for the station on another frequency. The principles are exactly the same when it comes to a wireless microphone system. One of the most important rules is that you can only receive one station at a time with a radio, never several simultaneously.

Reflection and scattering

Every wave has certain physical properties, and this also applies in the case of wireless transmission. When a wave travels from one medium to another, part of it is reflected and another part of it absorbed. Propagation of the absorbed part of the wave in the denser medium is considerably reduced, whilst the reflected part is returned at the same angle as the angle of incidence (diagram on left).

When a wave meets an irregular surface, it is not reflected uniformly and linearly, but is scattered in several partial waves, each deflected by a differing amount (diagram on right). The energy level of the wave naturally declines every time it is reflected, absorbed or scattered.

Shadowing

When a wave passes close to an obstacle, it is deflected slightly from its linear path. Thus a number of small obstacles in a room, such as wire screens, etc., can result in shadowing losses although visually they appear transparent.

HOW RADIO SIGNALS ARE TRANSMITTED

HOW WIRELESS TECHNOLOGY WORKS

6 www.akg.com

AKG WMS BASICS

www.akg.com 7

Signal propagation

As in a game of billiards, it is often impossible to reach a goal via a direct path. In the diagram on the left the red ball represents the receiver, the while ball the signal, and the black ball an obstacle between the two. However, in practice we are not dealing with a single ball, but with very many simultaneously. Thus there is a comparatively high probability that at least one of the balls will reach its goal.

1. The signal hits the obstacle directly and fails to reach its goal.

2. The signal reaches its goal after being reflected off the wall.

3. If two signals reach their goal simultaneously, they cancel each other out in a situation referred to as dropout.

4. In spite of being reflected, the signal fails to reach its goal, and continues to be propagated until its energy is expended.

fies it as necessary. An FM radio set – which everyone is familiar with – works on exactly the same principle.

Now that we have seen that a wireless microphone system functions just like an FM radio station on a narrow bandwidth, we can also see that it is subject to exactly the same physical laws that govern the propagation of radio waves. The challenge here is to find a technical solution to the typical phenomena of wave propagation, such as cancellation, heterodyning, and absorption. Other factors such as RF interference, electrical and electromagnetic fields, and intermodulation are also severely disruptive, and have a negative impact on the transmission quality of a wireless installation, significantly impairing the quality of the radio link and the audio signal. But more about that later!

It is particularly important to choose the right antenna and set up the antenna and receiver

correctly if we wish to avoid loss of quality. The rule of thumb is that the best radio transmission path is always the line of sight. Antennas and receivers should therefore never be hidden behind walls or other objects – it is vital to have a free line of sight between them! Problems with wireless systems during club gigs are frequently caused by incorrectly positioned antennas, although everything functioned perfectly during the sound check. In this case the audience forms an imaginary “wall” between the transmitter and the receiver, severely attenuating the radio signal. The best thing you can do is position the antenna high enough above the audience to avoid such a situation.

Do not place the antenna behind gratings, metal surfaces, or behind curtains if you can, as the signal will be unable to penetrate such obstacles. Even neon lights, dimmers, lighting systems, electronic equipment with strong RF radiation, like computers and stage

effects, power switching equipment, keyboards, etc. are potential sources of interference. They produce high-frequency harmonics, and are therefore totally unsuitable for use near the antennas of wireless systems. The minimum distance between walls and antennas should not be less than 3 feet, and the recommended minimum distance between transmitter and receiver is 10 feet.

You can get even better results by using diversity systems, carefully selecting the carrier frequency band (UHF or VHF), and placing the antenna(s) carefully to prevent any dead spots. If none of the above methods alone improves the situation, try them in different combinations. If this still does not help, you should secretly check that the receiver is connected to power, and that fresh batteries have been inserted in the transmitter! But seriously, even professionals have made this mistake in the commotion of setting up the equipment for a gig!

Positioning the receiver

One of the most common mistakes in practice is failing to take the audience into account when positioning the receiver. The basic rule of thumb is: always maintain a line of sight between the transmitter and the receiver. In order to prevent the signal from being absorbed by the audience, always place the receiver as high as possible and in the vicinity of the transmitter – ideally on the stage itself.

AKG WMS BASICS

Wireless transmission technology is based on the physical principles governing the propagation of electromagnetic waves. Radio, television, mobile telephone communications, microwaves, and light are all based on electromagnetic waves with different wavelengths.

Short waves have completely different characteristics, and are propagated as high-frequency signals in the form of radio waves or X-rays, for instance, traveling incredible distances through the universe and still detectable after millions of years.

Speech and other sound signals, on the other hand, are not electromagnetic waves, and require a high-frequency carrier signal for wireless transmission: it is this carrier signal that serves to transport the audio signal through the air. The process that does the trick is called modulation: this is similar to the audio signal getting into a taxi in a science-fiction movie (climbing into a radio-frequency signal), because the physical laws that now come into effect are similar to the highway code of the future! This metaphorical example is not entirely analogous to the physical reality, but it may give a clearer picture.

What happens to our audio signal once it has entered our metaphorical taxi in order to travel from the transmitter to the receiver? First it has to tell the driver its destination, for example: “Please take me the fastest way

from transmitter to receiver.” Since he has been asked to take the fastest route, the taxi driver will try to select this route. However, the thing is that we are not alone on our journey, but have to share the roads with a number of other (wireless) road users: in this situation the following rules apply:

Rule no. 1: The stronger your radio signal is, the better chance it has of reaching its destination. In our metaphorical example, TV stations do not travel in radio-wave taxis in one lane, but in gigantic trucks occupying several lanes at once. The only solution here is to avoid them by selecting another frequency band, in our example by taking another road so as not to be run over by them!

Rule no. 2: Keep your distance and stay in your lane! Our taxi needs a road lane on which it can travel, and must keep its distance from vehicles in the adjacent lanes so as to avoid a collision, which we refer to in technical terms as radio interference. Unfortunately, however, we are also obliged to share our lane with signal waves from mobile telephones, television sets, microwave ovens and radio sets, and are permanently faced with congestion and traffic jams. These other signal waves continually come dangerously close to our taxi, and we are continually in danger of colliding with other road users: it is therefore essential that we keep our distance!

Rule no. 3: The higher the frequency, the more “lanes” there are available, and the risk of various radio signals colliding with one another is correspondingly lower. This is why all WMS 40 systems work in the short-wave UHF range, which ensures extremely reliable transmission and optimal signal quality.

AKG has specified various radio frequencies for its WMS 40 wireless systems in order to ensure secure and reliable transmission in the UHF range, normally enabling four systems to be operated simultaneously. This means that we are able, as it were, to send our audio signals from transmitter to receiver using very fast taxis on four safe road lanes.

This is particularly important when transmitting speech and music in order to avoid unwanted signal dropouts (see illustrations on facing page and also the illustration of signal characteristics on page 7). The maximum number of channels that can be operated simultaneously varies depending on national licensing regulations.

The licensing regulations issued by the relevant regulatory authorities for telecommunications systems also vary from country to country. Your local AKG supplier will be able to tell you whether you require a license to operate a WMS 40 wireless system in your country.

8 www.akg.com

Wavelength

The properties of a wave depend primary on its wavelength. Wavelength is the term used to refer to the distance between points at which the wave has the same phase in two consecutive cycles. The radio waves of wireless microphone systems, and also television and radio sets, mobile telephones and microwave ovens, have a wavelength of about a meter. The wavelength of visible light varies between 770 and 400 nm (1 nm = 1 thousandth of a meter), whilst X-rays, gamma rays, and cosmic radiation have even shorter wavelengths.

AKG WMS BASICS

HOW RADIO SIGNALS ARE TRANSMITTED

HOW WIRELESS TECHNOLOGY WORKS

Interference

Overlapping (interference) occurs when the bandwidths of adjacent signals are too wide, or the carrier frequencies are too close together. Parts of the signals transmitted lying in this range are no longer clearly recognized by the receiver, resulting in noise or dropouts. For this reason it is not possible for two or more systems to work on the same frequency. Even if the frequencies are different, one must always ensure that there is sufficient separation between the frequencies used.

Color coded for easy identification

It is easy to match up transmitters and receivers thanks to their color coding system. At the same time, the colors also tell you the carrier frequency used for the radio link. Transmitters and receivers using the same carrier frequency are coded with the same color. The color code clips on the HT 40, SO 40, MP 40, and GB 40 transmitters are removable, and can be replaced by the black clip provided.

Bandwidth

Every frequency-modulated carrier signal does not oscillate entirely within the frequency allocated to it, but also occupies frequencies in the adjoining range. This range is known as “bandwidth”. The wider the available bandwidth is, the better the transmission quality. Ideally, different carrier signals should therefore be far enough apart to prevent their bandwidths from overlapping.

Example of AKG WMS 40 carrier frequencies

AKG has selected fourteen different frequencies as carrier frequencies for wireless transmission by WMS 40 wireless systems. There is sufficient separation between them to ensure trouble-free operation and optimal signal quality. A maximum of four WMS 40 systems can be operated at any one time, and care must be taken to ensure that none of the frequencies are used twice! If more than four radio links are required simultaneously, AKG offers a series of wireless systems that make it possible to use a higher number of channels at once. Please refer to pp. 30 for detailed information. The maximum permissible number of channels may vary depending on national frequency plans.

Frequency Modulation (FM)

Transforming an audio signal into a radio-frequency one and back again is achieved by means of frequency modulation (FM). This technology has also been used for decades in UHF radio to ensure reliable transmission and high signal quality. This involves imposing an audio signal on a radio-frequency (RF) sine-wave carrier that now begins to oscillate in time with the audio signal. Variations in the level of the audio signal (changes in volume) produce frequency changes in the RF carrier signal (transmission frequency). Therefore, this technique is known as “frequency modulation”.

www.akg.com 9

➜

➜➜

➜

AKG WMS BASICS

Handheld microphone for lead and backing vocals

•

Simple plug & play system

•

Time-tested AKG D 880Mmicrophone element

•

Over 35 hours of battery-powered operation

Page 12

MODULAR SOLUTIONS TO MEET INDIVIDUAL REQUIREMENTS

THE WMS 40 MODULAR SYSTEM

Lead and backing vocalsTM 40

10 www.akg.com

The requirements of wireless systems vary from one user to another. This calls for individual solutions, which is why AKG has created the WMS 40 series as a modular system that offers a wide range of solutions depending on the user’s preferences and chosen field of application. Up to four WMS 40 systems can be operated simultaneously: if you need to use more than four radio links at once, you should consider choosing a WMS 400 or WMS 4000 system instead. See pp. 30 for further details. AKG’s WMS 40 systems are designed for the future. You can

also use any WMS 40 system with other AKG WMS wireless systems if required. However, if you do, we recommend you visit our website at to check for suitable frequencies before you make your purchase or use the system. For this purpose, AKG offers a service enabling you to input the carrier frequencies of your existing WMS systems. The available carrier frequencies of other AKG WMS systems will then be calculated for you automatically. The maximum permissible number of channels may vary depending on national frequency plans.

The SO 40 snapon transmitter is the best value WMS system for a singer who already possesses a microphone. However, AKG offers a wide range of professional solutions for a whole spectrum of other applications such as vocals, aerobics, presentations, and the wireless transmission of instruments. In the final analysis, the decisive factors boil down to your individual requirements and the budget you have at your disposal!

The choice is yours…

HT 40

AKG WMS OVERVIEW

PT 40

C 420 L

Snapon for easy transition from cable to wireless

•

Suitable for any dynamic microphone

•

Condenser microphone with internal battery supply

•

XLR connector for easy connection

•

Optional quick charging station

•

Integrated charging contacts

Page 16

SO 40

e.g. AKG D 880

SR 40

TM 40

e.g. AKG D 880

SR 40 diversity

SR 40

Head-worn microphone for lead and backing vocals

•

Absolute mobility

•

Choice of C 444 L or C 420 L head-worn microphones

•

Over 35 hours of battery-powered operation

Page 14

High Quality Wireless Transmitter Module

• The TM 40 connects to Emotion Tripower Series microphones D 3700

, D 880Mand C 900

• Lowest operating cost in its class

• Input gain control for optimum matching to microphone output level

• ON/MUTE/OFF switch and battery status indicator for easy setup

Page 18

www.akg.com 11

PresentersInstruments

Guitar, bass

and keyboards

oder

Aerobics

AKG WMS OVERVIEW

The MP 40 micropen for presenters

• Maximum flexibility of use as handheld, clip-on, or pocket mic

• Superior-quality C 407 capsule

• Optional quick charging station

Page 20

MP 40 PR 40

Handheld microphone for presenters

• Simple plug & play system

• Time-tested AKG D 880

microphone element

• Over 35 hours of battery-powered operation

Page 22

HT 40 SR 40

C 444 L

C 417 L

SR 40

PT 40

Clip-on or head-worn microphone for presenters

• Absolute freedom of movement

• Choice of C 444 L head-worn or unobtrusive C 417 clip-on microphone

• Over 35 hours of battery-powered operation

Page 22

C 444 L

PR 40

PT 40

Head-worn microphone for extreme activities like aerobics and sports

•

Absolute freedom of movement

•

C 444 L head-worn microphone specially protected against moisture and perspiration

•

Over 35 hours of battery-powered operation

Page 24

PT 40

MicroMic

SR 40 diversity

Wireless systems for portable instruments

• Absolute mobility

• Choice of a variety of miniature microphones specifically designed for instrument use

• Over 35 hours of battery-powered operation

Page 26

PR 40

GB 40

The GB 40 guitarbug for guitar, bass and keyboards

• Flexjack swiveling jack plug connects to all types of electric guitars and basses

• Simple plug & play system

• Optional quick charging station

Page 28

The HT 40 handheld transmitter is an excellent choice for both handheld and standmounted use. Handheld microphones are also suited for applications where more than one person will talk into the microphone, such as talk shows or interviews with people in the audience.

The design specification for the WMS 40 Series lists the best possible audio quality as the number one priority. The result explains the success of the WMS 40 system. This UHF

wireless microphone system has been optimized for use in smaller venues such as clubs, rehearsal rooms, or local community centers, is easy to use, and provides outstanding price/performance.

The heart of the HT 40 handheld transmitter is the AKG D 880

microphone element that delivers both an excellent sound and very good intelligibility. This microphone element uses the same transducer as the hot-selling, proven AKG D 880

hardwire microphone. Made at

the AKG factory in Vienna, Austria, each transducer must pass extremely stringent quality tests before being approved for shipping. This is another reason why both professional and amateur vocalists appreciate this transducer. It guarantees excellent results from the start and is almost indestructible.

With its compact, rack-mountable receiver, the AKG WMS 40 is an easy-to-use, convenient wireless system, and once you tried it you won't want to do without it anymore.

Excellent response

The HT 40 handheld transmitter uses the proven AKG D 880

microphone element. This dynamic transducer has been specifically designed for lead and backing vocals and helps even less experienced vocalists to make themselves heard. An integrated wind and pop screen effectively reduces breath and pop noise as well as sibilance. It is easy to remove the windscreen from the front grill for cleaning.

HANDHELD MICS FOR LEAD AND BACKING VOCALS

AKG WMS 40 UHF FOR VOCALS

Massive front grill

An extremely rugged spring steel wire-mesh cap optimally protects the transducer capsule beneath it from damage in tough night-after-night usage on stage. The proven AKG D 880 microphone element easily survives a drop from approx. 3 1/2 feet (1 m) to a hard stone floor. It has been designed to take the kind of abuse usually encountered on tour.

ON/MUTE/OFF switch

The absolutely noiseless ON/MUTE/ OFF switch with its knurled lever is recessed in the body to prevent unintentional actuation and ensure maximum operational safety.

Replaceable color code clip

The color code clip indicates the carrier frequency of the transmitter, and you can replace the colored clip with an inconspicuous black replacement clip if and when the need arises.

Integrated antenna

The antenna is hidden inside the rugged transmitter body for optimum protection from damage.

Battery status LED

With a minimum battery life of 35 hours, the HT 40 gives you more hours of fun per dollar than most of its competitors. And if the battery status LED illuminates after all, don’t panic: you still got 50 minutes before the batteries are dead so you can easily steal away for a minute to replace them.

Rack mounting

Both the SR 40 and the SR 40 diversity can be used freestanding or rack mounted. An optional rack mounting kit allows you to install the receiver quickly and easily in any 19" rack. The half-rack, 1 U case lets you mount the receivers for six channels in just 3 U of rack space.

12 www.akg.com

HT 40 Handheld transmitter

AKG WMS UHF VOCALS

Volume

Matches the output level of the receiver to the input gain of the mixer. (For details refer to page 27)

Frequency color code platelet

Receivers using the same frequency are marked with the same color code.

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the MUTE LED will be lit.

On/off switch

with status LED.

Antenna

The swiveling antenna is mounted on the front panel, allowing the receiver to be rack mounted.

Case

The side panel supports are removable for mounting the receiver in a 19" rack.

Angle of incidence

To get a well-balanced, natural sound, sing to one side of the microphone or above and across the microphone’s top (left). If you sing directly into the microphone, it will not only pick up excessive breath noise but also overemphasize sibilants (right).

Holding the transmitter

Be sure never to cover the lower half of the wire-mesh cap with your hand. If you do, the microphone element's polar pattern will change from cardioid to omnidirectional. In a concert hall, this change in the pickup pattern will significantly lower the usable gain before feedback. Also, do not grasp the transmitter body at the lower end, where your hand would cover the integrated antenna and weaken the radio signal.

Working distance and proximity effect

Basically, your voice will sound the bigger and mellower, the closer you hold the microphone to your lips. Moving away from the microphone will produce a more reverberant, more distant sound as the microphone will pick more of the room’s reverberation. Proximity effect is a more or less dramatic boost of low frequencies that occurs when you sing into the microphone from less than 2 inches. It gives more "body" to your voice and a sexy, bass-heavy sound.

Feedback

To increase usable gain before feedback, the microphone on the HT 40 has a supercardioid polar pattern. This means the microphone is most sensitive to sounds arriving from in front of it (your voice) while hardly responding to sounds arriving from the sides or rear (from monitor speakers for instance). To maximize gain before feedback, never point any microphone directly at a speaker. The safest place for a microphone is usually behind the FOH speakers.

www.akg.com 13

Microphone cleaning and maintenance

Microphones, like any other instrument, need regular cleaning to maintain clarity and intelligibility. As a microphone is being used, its foam pop screen and front grill collect dirt particles that may ultimately clog the acoustically transparent foam cells. Just unscrew the front grill and remove the internal windscreen. Soak the windscreen in sudsy water for a night, then allow it to dry completely. Clean the front grill with isopropyl alcohol.

Alternative receivers

You can also use the HT 40 with the SR 40 diversity receiver or the PR 40 portable receiver.

Squelch threshold control

(on rear panel).

SR 40 Receiver

AKG WMS UHF VOCALS

HEAD-WORN MICS FOR LEAD AND BACKING VOCALS

AKG WMS 40 UHF FOR VOCALS

Mini XLR connector

A locking 3-pin mini XLR connector provides a reliable connection to a headworn microphone from AKG.

ON/MUTE/OFF switch

Setting the switch to the "MUTE" position mutes the audio signal, while the transmitter continues radiating the RF carrier frequency. This prevents the receiver from being disturbed by other transmitters while the microphone is “off the air”.

Flexible antenna

To maintain perfect transmission, the antenna should be visible from the receiver location at all times. So make sure never to cover the antenna with clothes or other elements of the costume.

Battery status LED

With a minimum battery life of 35 hours, the PT 40 gives you more hours of fun per dollar than most of its competitors. And if the battery status LED illuminates after all, don’t panic: you still got 50 minutes before the batteries are dead so you can easily steal away for a minute to replace them.

Rear panel and battery compartment

Belt clip for fixing the transmitter to a belt. Frequency and color code label for easy frequency identification

in a multichannel system. MIC/LINE selector: Sets the audio section input either to MIC or

LINE level.

GAIN: Fine adjusts the sensitivity of the transmitter’s audio sec-

tion to the output level of the connected microphone or instrument.

Head-worn microphones are becoming increasingly popular with vocalists who also play an instrument, or performers needing absolute mobility, particularly those who do not only sing but also dance on stage. The C 420 L and C 444 L from AKG are headworn condenser microphones that provide a perfect vocal sound, wide dynamic range, and good intelligibility.

Sharing the outstanding, proverbial quality AKG transducers are famous for, these two

microphones deliver excellent sound. Backed by more than fifty years of experience, AKG R&D designed microphone transducers that are small, inconspicuous, extremely light, and do not obstruct the user's field of vision. The transducers are made by AKG in Austria, Europe.

The C 420 L and C 444 L are cardioid microphones that focus their sensitivity at the user's mouth and reduce unwanted offaxis noise to a minimum. The AKG WMS 40

is a UHF wireless system with an outstanding price/performance ratio. It has been designed to bring uncompromising audio to smaller venues such as clubs, rehearsal rooms, or local community centers. It makes professional UHF technology accessible to musicians on a budget and is an ideal choice for lead vocalists as well as singing keyboardists, drummers, guitarists, or dancers. The WMS 40 combines ease of use with a simply fabulous sound!

14 www.akg.com

PT 40 Portable transmitter

AKG WMS UHF VOCALS

C 420L

A fully adjustable behind-the-neck steel headband with swiveling temple pieces provides a secure yet gentle fit.

The cable is connected at the back of the head so it won't get into the user's way during the performance.

The microphone arm places the mic in front of the user's mouth, a position suited for professional vocalists who know how to sing and breathe to avoid causing breath and pop noise.

www.akg.com 15

Volume

Matches the output level of the receiver to the input gain of the mixer. (For details refer to page 27).

AF LEDs

The green AF LED indicates the input level to the audio section is within the optimum range. If the audio input level is too high, the PEAK LED will come on.

Diversity LEDs

Indicate which of the two receiving antennas is currently active.

Frequency color code platelet

Receivers using the same frequency are marked with the same color code.

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the MUTE LED will be lit.

ON/OFF switch

with status LED.

Antennas

The swiveling antennas are mounted on the front panel, allowing the receiver to be rack mounted.

Case

The 1 U half-rack case is easy to mount in a rack and allows you to install two receivers in a single slot.

Alternative receivers

You can also use the PT 40 with the SR 40 stationary receiver or the PR 40 portable receiver.

SR 40 diversity Receiver

Rack mounting

AKG WMS UHF VOCALS

SO 40 SNAPON TRANSMITTER CONVERTS HARDWIRE MICS TO WIRELESS

AKG WMS 40 UHF FOR VOCALS

Color code

Transmitters and receivers tuned to the same carrier frequency are marked with the same color.

Input gain control

Matches the transmitter audio input sensitivity to the microphone's output level.

Battery status LED

Battery life is approx. eight hours for an AAA size 1.5 V dry battery and approx. six hours for a rechargeable battery. When the status LED is lit red constantly the battery will be dead in about 50 minutes. The maximum charging time for a rechargeable battery is one hour.

XLR connector

3-pin female XLR connector for direct connection to a dynamic microphone with a 3-pin male XLR connector.

Antenna

Rugged antenna integrated in the transmitter body.

Release button

Unlocks the XLR connector.

ON/MUTE/OFF switch

Setting the switch to the “MUTE” position mutes the audio signal, while the transmitter continues radiating the RF carrier frequency. This prevents the receiver from being disturbed by other transmitters while the microphone is “off the air”.

Battery compartment

The transmitter can be powered from a dry or rechargeable battery. The color of the battery compartment cover indicates the carrier frequency of the transmitter, and you can replace the colored cover with a black replacement cover.

Kind to your budget and the environment

The optional CU 40 charger provides a convenient way of charging the battery inside the transmitter via the charging contacts on the transmitter bottom panel. You don't even have to remove the battery for charging! Unlike conventional chargers, the CU 40 checks whether the battery inside the transmitter is a dry or rechargeable type and switches off automatically if it detects a dry battery. A quick charging function makes sure the batteries inside any AKG Microtool will be fully charged within one hour.

16 www.akg.com

SO 40 snapon transmitter

Does this sound familiar? You've been using your favorite hardwire dynamic microphone for gigs and rehearsals for years and one night it turns out that for this particular gig it would be very convenient to have the same microphone with a radio link instead of the cable. The radio link would have to be small, light, and affordable, because you travel a lot and would rather not spend a lot of money on a full-blown wireless system that you will only use occasionally.

It was exactly for this application that AKG designed the Microtools Series SO 40 snapon transmitter that was enthusiastically wel-

comed by the audio community when it was launched and has been appreciated by many users ever since.

Knowing that the most successful products are usually surprisingly simple, the designers at AKG did their homework with painstaking care and finally came up with the SO 40 snapon transmitter, a miniature transmitter designed specifically for direct connection to a microphone. The SO 40 snapon transmitter has a 3-pin XLR connector that allows you to connect the transmitter directly to any dynamic microphone (e.g., an AKG D 880) or a condenser microphone with an internal

power supply (e.g., the AKG C 1000 S). The transmitter can be powered from a dry or rechargeable battery. A suitable charger is available from AKG.

Converting a hardwire microphone to wireless has never been so easy and affordable before. Even if you use several hardwire microphones from various manufacturers for various applications, you can now convert all these microphones to wireless easily and without having to buy several different wireless systems. In short, the SO 40 snapon transmitter gives you incredible wireless flexibility at very moderate cost.

AKG WMS UHF VOCALS

Volume

Matches the output level of the receiver to the input gain of the mixer. (For details refer to page 27).

Frequency color code platelet

Receivers using the same frequency are marked with the same color code.

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the MUTE LED will be lit.

ON/OFF switch

with status LED.

Antenna

The swiveling antenna is mounted on the front panel, allowing the receiver to be rack mounted.

Case

The side panel supports are removable for mounting the receiver in a 19" rack.

XLR connector

Plug it in. That's all you need to do to convert any hardwire dynamic mic to wireless. Obviously, you can use the SO 40 to add a radio link to any other audio source with an XLR output as well. The XLR connector on the SO 40 is wired for pin 2 hot (international standard).

www.akg.com 17

Setting the squelch threshold

The job of a s squelch circuit is to reduce audible noise. It eliminates noise during pauses in the audio signal by muting the receiver every time the audio level drops below a defined threshold. The SQUELCH control on the receiver sets this threshold. Use the SQUELCH control with care! If the squelch threshold is too high, the squelch will not only cut out noise but mute quiet audio signals as well because the squelch responds to the detected voltage and cannot distinguish between wanted signal and noise. Besides that, a too high squelch treshold also decreases the usable range.

Alternative receivers

You can also use the SO 40 with the SR 40 diversity receiver or the PR 40 portable receiver.

SR 40 Receiver

AKG WMS UHF VOCALS

SO 40 Input wiring diagram

XLR connector (pin 2 hot)

Sooner or later in the life of every singer, the time comes when you need to buy a rugged stage microphone with that fabulous sound. But that’s when you find yourself in a dilemma: do you need a hardwire or a wireless mic? A hardwire model is perfectly adequate for the rehearsal room, where it is often impossible to use a radio system due to the small distances involved. On the other hand, the benefits of a wireless microphone during a live performance are obvious: no endlessly long cables, and complete freedom of movement. But this is hardly enough to make you want to buy two microphones.

This problem is now a thing of the past thanks to the revolutionary TM 40 transmitter module. Depending on the situation, with an easy adjustment you can use this microphone with or without a cable.

It goes without saying that you can always opt for the hardwire version to begin with if your budget is limited. You can subsequently upgrade to the wireless version at any time without being annoyed about owning a hardwire mic you no longer need.

The TM 40 transmitter module is based on

the same technology as AKG’s extremely successful WMS 40 range, which offers a genuine plug & play system for up to six channels. This ensures problem-free operation of all optional accessories – from receiver to charger – with your TM 40. A built-in on/mute/off switch, clearly visible status LED, and input gain control ensure unrivaled ease of use.

What microphone you will ultimately choose depends only on your personal preference as a performer: dynamic or condenser, cardioid or supercardioid – every possible combination is available.

THE TM 40 - MODULAR SYSTEM FOR SOPHISTICATED STAGE APPLICATIONS

AKG WMS 40 UHF FOR VOCALS

18 www.akg.com

Status LED

Allows you to check the status of the battery inside your transmitter. The TM 40 will operate for about 8 hours off a 1.5 V AAA size dry battery, and about 6 hours off a rechargeable battery. When the status LED lights up red continuously, the battery will last about another 50 minutes: recharging takes an hour at most.

On/mute/off switch

With the mute function selected, only the audio signal is muted: the supply voltage and RF carrier frequency remain switched on. This prevents other transmitters from interfering with the receiver although the microphone is “switched off”.

Input gain control

Allows you to adjust the sensitivity of the audio input on the TM 40.

Battery compartment

You can operate the microphone with either dry or rechargeable batteries. Integrated charging contacts in the bottom of the microphone allow you to charge the battery without removing it.

Battery charging made easy

Use the optional CU 40 charger to recharge the battery in the battery compartment via the integrated contacts in the bottom of the transmitter body. The battery is recharged within one hour and can then be used for up to 6 hours. Battery charging simply couldn’t be easier, faster, or more ecological!

TM 40 Transmitter module

AKG WMS UHF VOCALS

www.akg.com 19

Volume

Lets you match the output level to the input sensitivity of the mixing desk and the related gain structure (see explanation on page 27).

AF LEDs

Green indicates optimal input signal strength. The Peak LED will come on when the input level is too high.

Diversity LEDs

Indicate which of the two diversity antennas is active at any time.

Frequency color coding

Receivers using the same frequency are marked with the same color code.

RF LEDs

Illuminate to indicate a signal is being received. The mute LED lights up if the signal is lost or the squelch is active.

On/Off switch

Antennas

The folding antennas are mounted on the front panel of the SR 40 diversity, making for easier rack installation.

Case

1 U half-rack case for convenient, space-saving rack installation.

D 880

Wireless and supremely flexible

The TM 40 has been designed for use with any Emotion/Tripower Series microphone. You can choose between the D 3700Mcardioid dynamic or the D 3800Msupercardioid dynamic, the C 5900

supercardioid condenser

microphone, and the D 880

cardioid dynamic, or the C 900

cardioid condenser microphones. AKG offers the right microphone for every budget and every performance requirement – and the plug-in transmitter module makes it incredibly easy to switch between hardwire and wireless modes!

C 900

D 3700

D 3800

C 5900

Several types of XLR modules

These modules with XLR connectors allow you to use your microphone with a cable. Gold plated contacts ensure maximum reliability. The XLR modules for the D 880M, D 3700Mand D 3800

dynamic microphones are available with or without an on/off switch. The XLR module for the C 900

condenser comes with no switch, while the XLR module for the C 5900Mprovides dip switches for bass rolloff and presence boost. This enables you to switch from wireless to hardwire modes in a matter of seconds.

Alternative receivers

As alternatives you can also choose between the SR 40 receiver and the PR 40 portable receiver.

SR 40 diversity Receiver

AKG WMS UHF VOCALS

Microphone

The AKG C 407 omnidirectional microphone has been optimized for speech pickup. A crocodile clip lets you use the microphone remotely from the transmitter. The cable is approx. 8 inches (20 cm) long.

THE MP 40 MICROPEN FOR PRESENTERS

AKG WMS 40 UHF FOR PRESENTERS

Color code pen clip

Transmitters and receivers tuned to the same carrier frequency are marked with the same color.

20 www.akg.com

Input gain control

Sets the sensitivity of the transmitter’s audio section.

Battery status LED

Antenna

Rugged antenna integrated in the transmitter body.

ON/MUTE/OFF switch

Battery compartment

The transmitter can be powered from a dry or rechargeable battery.

Cable compartment

The microphone cable is stored in a separate compartment with a removable cover.

Kind to your budget and the environment

MP 40 Micropen

Designed for presentations, lectures, video shooting, and tour guide systems, the MP 40 micropen has been extremely popular for its versatility. Elegant and inconspicuous, it is small enough to fit in a jacket pocket.

Besides ease of handling, the MP 40 micropen also provides excellent intelligibility. The MicroPen can even be used as a handheld microphone, e.g., for interviews or talk shows so the reporter or host can give the microphone to the interviewee or a second moderator if necessary. To improve intelligibility and gain before feedback, it may sometimes

be necessary to increase the proportion of direct sound by placing the microphone closer to the user's mouth. To this end, either use the convenient necklace cord supplied with the MP 40 micropen, or remove the microphone from the transmitter and clamp it on the lapel.

The C 407 omnidirectional condenser microphone is a proven design that has been specifically optimized for miking up the speech frequency range. It is so small that it will almost disappear against its backing. Integrated in the transmitter is a special

compartment that keeps the microphone from falling out and protects it from damage.

The transmitter can be powered from a single AAA size dry or rechargeable battery. Battery life is approx. eight hours for a dry battery and approx. six hours for a rechargeable battery. Charging is as easy as placing the transmitter in the optional CU 40 charger. The battery will be restored to full capacity in half an hour.

Just about time enough for a cup of coffee before the next lecture begins.

AKG WMS UHF PRESENTERS

Volume

Sets the volume level of the headphone out-

put. (See page 27 for details.)

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the RF LED will go out.

ON/OFF switch

with status LED.

Antennas

The swiveling antennas can be set to any angle.

Case

Featuring an exceptionally light and compact case, the PR 40 can be easily attached to a belt, camera, pedalboard, etc. using the belt clip or supplied Velcro strip.

www.akg.com 21

Detachable microphone

Where gain before feedback is no problem, leave the microphone safely nested in its compartment. In more acoustically difficult environments, remove the microphone from the transmitter and attach it to the clothes nearer the user's mouth using the crocodile clip on the microphone.

Put it in your pocket …

… like a ballpoint pen. You can replace the colored clip with an inconspicuous black clip if necessary.

MP 40 micropen with detached microphone

To improve intelligibility, you can use the integrated cable and crocodile clip on the microphone to attach the microphone to the clothes, near the user's mouth. Reception conditions permitting, you can even hide the transmitter in an inside pocket.

MP 40 micropen in handheld mode

For interviews, etc., you can use the MicroPen in the same way as a conventional handheld microphone. Remember, though, that the sensitivity of the MP 40 is higher than that of most conventional models.

For more products/hints for presenters, refer to the next page.

Alternative receivers

You can also use the MP 40 with the SR 40 or SR 40 diversity receiver.

Bottom panel charging contacts

The charging contacts allow you to charge the batteries inside the PR 40 using the optional CU 40 charger.

PR 40 Portable receiver

AKG WMS UHF PRESENTERS

MORE GOODIES FOR PRESENTERS

AKG WMS 40 UHF FOR PRESENTER

22 www.akg.com

PT 40 Bodypack transmitter

with C 444 L head-worn or C 417 L lavalier microphone.

HT 40 Handheld transmitter

with proven D 880

microphone element.

SO 40 snapon transmitter

Microtool for easy conversion of hardwire dynamic microphones.

You can use a C 444 L head-worn or C 417 L lavalier microphone with a PT 40 bodypack transmitter with 35 hours battery life. The C 444 L has been optimized for speech pickup and rests securely yet gently against the user's cheekbone. This setup provides unrestricted mobility and the microphone keeps clear of the user's field of vision.

The C 417 L lavalier microphone is small and inconspicuous. Fixed to the selvedge or a buttonhole on the presenter's jacket, it is nearly invisible and therefore a popular choice for applications where the microphone or transmitter must keep a low profile.

For more details on the PT 40 refer to page 14.

The HT 40 transmitter is the optimum solution for any application where a handheld microphone is needed. This microphone is the first choice for applications where more than one person will talk into the microphone, such as talk shows with several hosts or interviews with people in the audience. The HT 40 handheld transmitter uses the same transducer as the hot-selling, proven AKG D 880

handheld microphone. Made at the AKG factory in Vienna, Austria, this rugged transducer provides accurate speech response and is almost indestructible. The ON/MUTE/OFF switch is easy to use and recessed to prevent unintentional activation.

For more details on the HT 40 refer to page 12.

The SO 40 snapon transmitter is the ideal solution for users who may need a wireless microphone, but not often enough to warrant the purchase of a dedicated wireless system.

The SO 40 snapon transmitter is a convenient, lightweight miniature transmitter that allows you to convert an existing hardwire microphone to a radio mic at a very affordable price. With its 3-pin XLR connector, the SnapOn connects directly to any dynamic microphone.

For more details on the SO 40 snapon trans- mitter refer to page 16.

AKG WMS UHF PRESENTERS

www.akg.com 23

Volume

Matches the output level of the receiver to the input gain of the mixer. (For details refer to page 27).

Frequency color code platelet

Receivers using the same frequency are marked with the same color code.

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the MUTE LED will be lit.

ON/OFF switch

with status LED.

Antenna

The swiveling antenna is mounted on the front panel, allowing the receiver to be rack mounted.

Case

The side panel supports are removable for mounting the receiver in a 19" rack.

C 417L

The C 417 L is one of the smallest lavalier microphones available today and provides exceptional price/performance. With its wide frequency range and omnidirectional pickup pattern with no proximity effect, the C 417L is an ideal choice for announcers and presenters.

C 444 L

A flexible plastic behind-the-neck arch and large support pads resting gently against the head keep the C 444 L securely in place without pinching.

The flexible microphone arm absorbs mechanical impact and places the microphone near the corner of the user's mouth to prevent pop and breathing noise from being picked up as it would if the mic were positioned right in front of the mouth.

Avoiding feedback

As soon as an open mic gets into the coverage area of one or more loudspeakers (left), it will pick up the speaker signal and recirculate it through the amps and speakers to the point that the system starts whistling or howling at an ear-splitting level. This is called feedback. The FOH speakers are usually set up at the front edge of the stage and it is relatively easy to stay behind an imaginary line between the speakers (right). Presenters moving around on stage should make sure never to point the microphone at any of the speakers.

Alternative receivers

You can also use the PT 40 with the SR 40 diversity receiver or the PR 40 portable receiver.

SR 40 Receiver

AKG WMS UHF PRESENTERS

WIRELESS SYSTEMS FOR MAXIMUM MOBILITY

AKG WMS 40 UHF FOR SPORTS

24 www.akg.com

Training communications

Instructions are often drowned out by ambient noise. The PT 40 Sports System in conjunction with a powered speaker or amp and speaker reduces the strain on the trainer's voice and gets their instructions across clearly. The result is better communication for more efficient training.

Mini XLR connector

A locking 3-pin mini XLR connector provides a reliable connection to a headworn microphone from AKG.

ON/MUTE/OFF switch

Flexible antenna

To maintain perfect transmission, the antenna should be visible from the receiver location at all times. So make sure never to cover the antenna with clothes or other elements of the costume.

Battery status LED

PT 40 Portable transmitter

Wireless microphone systems are becoming increasingly popular in sports arenas, fitness or dance studios for efficient communication between athletes and trainers. The WMS 40 Sports System is a complete solution designed for the specific needs of athletes and trainers. The head-worn microphone affords maximum mobility. It is rugged, light, and will stay in place even if the user moves their head abruptly. A flexible plastic behind-the-neck arch and large support pads keep the microphone securely in place without restricting the athlete's field

of vision. The flexible microphone arm with a special moisture shield absorbs mechanical impact and places the microphone near the corner of the user's mouth. Since the user will not talk directly into the microphone, it will pick up almost no pop or breathing noise. The PT 40 bodypack transmitter features a belt clip for easy and secure fastening to the user's belt or clothes. Alternatively, you can use the supplied light, padded neoprene bag that protects the transmitter from perspiration and impact.

Wireless microphones can be used for many applications from training at the gym to championships in any sports, for communication between trainers and athletes or direct connection to the sound system at a stadium.

The WMS 40 Sports System provides tailormade speech reinforcement solutions for gyms, sports clubs, and teams that are easy to connect to an existing sound system at a gym, hall, or open-air arena, and guarantee users the required mobility.

AKG WMS UHF AEROBICS

www.akg.com 25

C 444L

A flexible plastic behind-the-neck arch and large support pads resting gently against the head keep the C 444 L securely in place without pinching. The flexible microphone arm absorbs mechanical impact and places the microphone near the corner of the user's mouth to prevent pop and breathing noise from being picked up as it would if the mic were positioned right in front of the mouth.

Important: The C 444 L delivers a very high output level, so be sure to set the MIC/LINE selector on the PT 40 to "LINE" to avoid overloading the PT 40's audio input.

PT 40 care

Particularly when used by gymnastics trainers, the PT 40 is not only subjected to mechanical stress but above all the corrosive effects of perspiration. Therefore, you should always use the PT 40 with the supplied neoprene bag.

Should this be impossible for some reason, wear the PT 40 with the antenna pointing down if you use it with a headworn microphone. This will prevent perspiration from creeping along the cable and finding its way into the transmitter.

Volume

Sets the volume level of the headphone out-

put. (See page 27 for details.)

RF LED

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the RF LED will go out.

ON/OFF switch

with status LED.

Antennas

The swiveling antennas can be set to any angle.

Case

Featuring an exceptionally light and compact case, the PR 40 can be easily attached to a belt, camera, pedalboard, etc. using the belt clip or supplied Velcro strip.

Bottom panel charging contacts

The charging contacts allow you to charge the batteries inside the PR 40 using the optional CU 40 charger.

Alternative receivers

You can also use the PT 40 with the SR 40 or SR 40 diversity receiver.

PR 40 Portable receiver

AKG WMS UHF AEROBICS

RADIO LINKS FOR PORTABLE INSTRUMENTS

AKG WMS 40 UHF FOR INSTRUMENTS

26 www.akg.com

Mini XLR connector

A locking 3-pin mini XLR connector provides a reliable connection to a headworn microphone from AKG.

ON/MUTE/OFF switch

Flexible antenna

To maintain perfect transmission, the antenna should be visible from the receiver location at all times. So make sure never to cover the antenna with clothes or other elements of the costume.

Battery status LED

PT 40 Portable transmitter

MIC/LINE selector and GAIN control

Set the MIC/LINE selector (left) to the correct position depending on whether you connected a microphone or instrument to the transmitter. Since instruments deliver a much higher output level than microphones do, set the selector to “LINE” for instruments and to “MIC” for microphones to avoid spectacularly overloading the transmitter's audio input or getting an extremely weak audio signal. The GAIN control (right) lets you fine adjust the audio section gain to the output level of the connected instrument or microphone.

More and more musicians prefer wireless microphones, so AKG was asked to create a wireless system specifically for "minimally invasive" miking of acoustic instruments with no on-board pickup. The proven AKG MicroMic Series microphones in conjunction with the AKG PT 40 bodypack transmitter and SR 40 portable receiver provide a solution offering exceptional quality, price/performance, and flexibility. Since the high quality MicroMic Series microphone capsules require high-performance

production lines they are made at the AKG factory in Vienna, Austria. Expensive UHF technology has been optimized for the specific requirements of wireless systems for smaller venues such as clubs, rehearsal rooms, or local community centers.

The WMS 40 provides fully professional audio and UHF transmission quality adjusted to the needs of musicians on a budget. The MicroMic Series includes a wide choice of small, light microphones designed for

easy mounting on various instruments and liberates musicians from the constraints imposed by stand-mounted microphones.

Of course, all MicroMics will leave no trace on the instrument when you remove them. Using an AKG WMS 40 Bodypack System with AKG MicroMic Series microphones is an optimum solution for acoustic guitar, violin, banjo, zither, accordion, various wind instruments, and many other applications.

AKG WMS UHF INSTRUMENTS

Volume

Matches the output level of the receiver to the input gain of the mixer. (For details see illustration below)

AF LEDs

The green AF LED indicates the input level to the audio section is within the optimum range. If the audio input level is too high, the PEAK LED comes on.

Diversity LEDs

Indicate which of the two receiving antennas is currently active.

Frequency color code platelet

Receivers using the same frequency are marked with the same color code.

RF LEDs

Illuminates to indicate that RF signal is being received. If the RF signal fails or the squelch comes on, the MUTE LED will be lit.

ON/OFF switch

with status LED.

Antennas

The swiveling antennas are mounted on the front panel, allowing the receiver to be rack mounted.

Case

The 1 U half-rack case is easy to mount in a rack and allows you to install two receivers in a single slot.

www.akg.com 27

MicroMic C 411 L pickup

For guitar, violin, viola, banjo, zither, or hammered dulcimer. Fix the pickup near the bridge (left).

D 409 instrument MicroMics

For saxophone, clarinet, tubas, trombone, trumpet.

C 416 L instrument MicroMic

To mic up an accordion, use two AKG C 416 L with a B 29L battery supply/mini mixer.

C 419 L instrument MicroMics

For saxophone, clarinet, tubas, trombone, trumpet.

C 420 L head-worn MicroMic

For flute and harmonica.

Connecting to microphone or line inputs

Use an XLR cable to connect the MIC OUT socket on the SR 40 to a balanced (XLR) microphone input on the mixer. Turn the VOLUME control on the SR 40 all the way CCW (left). Use an XLR to 1/4" cable to connect the LINE OUT socket on the SR 40 to an unbalanced line input (1/4" jack) on the mixer. Turn the VOLUME control on the receiver all the way CW (right).

Never use both receiver outputs simultaneously! This may cause a loss in signal level and increased noise.

Alternative receivers

You can also use the PT 40 with the SR 40 stationary receiver or the PR 40 portable receiver.

For detailed hints on using MicroMics refer to pages 80/81.

SR 40 diversity Receiver

AKG WMS UHF INSTRUMENTS

Jack plug

Spring-loaded FlexJack™ 1/4" TS jack plug. The plug may be too short for some recessed instrument jacks. In this case, use the supplied extension plug.

THE GB 40 GUITARBUG FOR GUITAR AND BASS

AKG WMS 40 UHF FOR GUITAR & BASS

28 www.akg.com

ON/MUTE/OFF switch

Flexible antenna

To maintain perfect transmission, the antenna should be visible from the receiver location at all times. So make sure never to cover the antenna with clothes or other elements of the costume.

Battery status LED

Input gain control

Sets the sensitivity of the transmitter’s audio section.

Battery compartment

The transmitter can be powered from a dry or rechargeable battery. The color of the battery compartment cover indicates the carrier frequency of the transmitter and you can replace the colored cover with a black replacement cover if required.

Accessories

We recommend using the optional CU 40 charger to charge the battery inside the battery compartment. The bottom panel charging contacts eliminate the need to remove the battery for charging.

GB 40 guitarbug

Too long. Too short. Forgot it. Tied up in knots. Tangled up. Gone. Pins reversed. Disconnected. Broken. Must be hard to find a guitarist or bassist who never got furious about their cables and the related mess.

The convenient alternative from AKG is called the GB 40 guitarbug, a WMS 40 Microtools Series miniature transmitter specifically designed for guitars and basses. It matches any instrument with a 1/4" TS jack, including keyboards. The spring-

loaded "FlexJack" swiveling jack plug connects to the instrument and pulls the transmitter against the instrument. The soft-touch coating on the transmitter bottom panel stabilizes the transmitter on the instrument and prevents the instrument surface from being scratched.

The GB 40 guitarbug is a UHF transmitter with superior price/performance. Optimized for use by guitarists and bassists at small clubs, rehearsal rooms, or local community centers, it is exceptionally easy to use.

The operating cost of the GB 40 is surprisingly low, too. A single AAA size 1.5 V dry battery will last for about eight hours of continuous playing. If you use many battery powered effects units and tuning devices, spending an appreciable part of your fees on batteries for your equipment, you can power the GB 40 with a rechargeable battery (six hours battery life). The optional CU 40 charger will fully charge the GB 40 guitarbug in half an hour, and the halfrack receiver can be rack mounted as easily as you can put it in your guitar bag.

AKG WMS UHF GUITAR BASS

+ 70 hidden pages