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 absence of any proximity effect is also useful in this application, as the bass response does not alter when the distance between the mic and the drum head is changed, so it’s easy to experiment with different mic positions inside or just outside the alg drum. Off axis rejection was about equal surprisingly enough. It has a cardioid pick-up aakg, with a well maintained off-axis response, and no proximity effect, due to the distributed rear loading of the diaphragm assembly.

AKG Model D E1 and D

Searchable archive of old, out-of-print aky production magazines. The design utilises a hum-cancelling coil to reduce external field interference. The D and D reviewed here, are high quality moving-coil, or ‘dynamic’ mics, with a cardioid pick-up pattern and extended frequency response. Even though the low frequency element is working I confirmed by rolling through the bass cutI sound a little hollow.

In all, I was surprised at how well the AKG did. 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.

As in a two-way loudspeaker design, this enables the transducers size to be optimised for akt particular range of frequencies that it is intended to handle, resulting in a large diaphragm for bass frequencies and a smaller unit for high frequencies. Also, I just want ajg thank coutant. 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.


Neutral 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.

Through scrapes, scuffs, and a big ole dent in the nose cone probably from a fall that dented the bronzeit’s still got a usable sound.

Yeah that sounds about right. Sintering is traditionally used for manufacturing ceramic objects, and has also found uses in such fields as powder metallurgy. Previous article in this issue: I think the D is a little closer to accurate, but reality is probably somewhere in between the and the I did compress in post, then mixed down to Kbps MP3.

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.

They don’t call it “The Rocket” for nuthin.

The Ramblings of Some Audio Guy: Living Room Laboratory – The AKG D “Rocket”

Some Audio Guy July 30, at 1: Gear in this article: Although it is sometimes criticised as having a rather characterless or unexciting sound, I have always found the D to be a most useful and versatile mic, with a response that is well suited to many practical recording situations. I don’t even know what sintering IS! Posted by Juan Carlos Bagnell at So they gave it to me! While the D has the superior overall performance, the D still finds favour in many applications and might perhaps be considered more cost-effective in some situations; but both models have something to offer and would certainly make a most useful addition to any microphone collection.

It really helps – thank you!

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The D shares most of the inherent qualities that have made the D popular e202 the broadcasting field, although its rather more stylish, but unobtrusive appearance suggests a greater suitability for V202 work. A hum compensation coil is featured, to assist in rejecting induced interference, while mechanical noise, handling noise, floor vibration etc, or unwanted low frequency signal components, can all be reduced by a 50 Hz cut switch, which has -7 and dB positions.


Interestingly, AKG once considered dropping the D from their range, and the model disappeared from their catalogues around AKG microphones are among the most respected and widely used in the field of professional audio, and there can be few, if any, studios that do not use some models from their extensive and varied range.

Also featuring gear in this article. 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.

Conclusions These versatile AKG models offer a high quality audio performance, suitable for coincident-pair recording or close-miked techniques, combined with the intrinsic ruggedness and user convenience of dynamic mics.

Review by Dave Lockwood. Next article in this issue: 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. Other articles featuring gear in this article: 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!

Like the D, some LF handling noise is evident, although stand mounted use is envisaged for most recording applications.

The mic is well suited to a wide variety of applications; the BBC, for example, uses s extensively for speech pick-up, while in recording studios it is frequently encountered in use as a bass drum mic, where the smoothness of the bottom end of its response assists in achieving a akv, well controlled bass drum sound.

Could it be an issue of durability?