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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The D continued to be in qkg and has since been fully restored to the range. 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.
AKG D202 – Classic Dynamic Microphone – Vintage
Through scrapes, scuffs, and a big ole dent in the nose cone probably from a fall that dented the d20it’s still got a usable sound. 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 of brass and reed instruments, or the larger stringed instruments in multi-mic orchestral sessions.
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, 2d02 a response that is well suited to many practical recording situations. Please include your email address if you want to be contacted regarding your note. Newer Post Older Post Home.
Previous article in d220 issue: Playing with mine, I wonder if it would sound d2022 on high-hat Well, considering the amount of damage, not bad, and surprisingly the LF element is functional. You can send us a note about this article, or let us know of a problem – select the type from the menu above.
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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.
I sound a lot thicker on the MD at this distance.
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 majority of the tapered body is made from a tough, rigid plastic material, but the mic has a distinctive appearance, largely due to the striking design of the rear sound entry slots protruding from either side of the metal base section, which also houses the XLR output connector and a recessed response switch.
The specifications of the two models are so similar as to suggest that the D might offer little more than a cosmetic upgrade from the D, but in fact the HF response of the newer model seems subjectively better maintained and distinctly smoother.
The DE1 and DE have low impedance ohmsbalanced outputs, and as usual with AKG products, the quality of construction and finish of both models is very good, the mics being supplied in a useful, rigid, foam lined protective case, with stand adaptor and individual frequency response plot included. It really helps – thank you!
A,g all, I was surprised at how well the AKG did. So they gave it to me! Rather unusually, this mic is supplied with two foam windshields; under conditions where wind noise is a problem, additional protection is needed for the rear sound entry ports located just above the XLR connector, necessitating the fitting of a windshield at both ends of the mic!
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.
I think the D is a little closer to accurate, but reality is probably somewhere in between the and the Searchable archive of old, out-of-print music production magazines. It also seems to lead to a more fragile mic, with many complaints online of D’s being sold with busted LF elements.
Posted by Juan Carlos Bagnell at First manufactured in I akkg no idea when this particular mic was made, as there are no serial numbersit was AKG’s first dual element microphone. Like the D, some LF handling noise is evident, although stand mounted use is envisaged for most recording applications. Add to that, it also didn’t fit in ANY standard sized mic holder, and just to use it they had to rig a shotgun shockmount.
AKG DE1 & DE Microphones (HSR Jun 84)
Also, I just want to thank coutant. Also featuring gear in this article. 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.
High frequency sound is captured under the nose cone, low frequency sound captured by the XLR connector, and the two elements communicating over a cross over which runs the length of the mic.
Next article in this issue: The D and D reviewed here, are high quality moving-coil, or ‘dynamic’ mics, with a cardioid pick-up pattern and extended frequency response. Bottom snare sounds like it would work. I’ve been getting my hands on some really fun old mics.
While the D has the superior overall performance, the D still finds favour in akh applications and might perhaps be considered more aig in some situations; but both models have something to offer and would certainly make a most useful addition to any microphone collection.
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 being phased together by a built-in crossover network.