AKG WMS GLOSSARY

GLOSSARY

DEFINITIONS FROM A TO Z

Inside a bass

drum 3 cm 140 dB (one inch)

from the head

130 dB

Tom-toms 3 cm (one in.)

distance; 120 dB 60 watt guitar

amp, at 30 cm

(12 in.) 110 dB distance

Loud vocals, 100 dB at 15 cm

(6 in.) distance

Acoustic 90 dB guitar, chords

strummed with 80 dB plectrum, at

40 cm (16 in.)

70 dB

Acoustic guitar, at

40 cm (16 in.) 60 dB played

“fingerpicking”

50 dB

Noise level in

an average 40 dB city apparment

20 dB

Threshold of hearing 0 dB

Loud vocals, measured in front of the mouth; threshold of pain

Congas, 2 cm (one in.) from the head Cowbell at

10 cm (4 in.) distance

Saxophone,

trombone, played p, at 40 cm (16 in.) distance

Piano, played pp, at 1 m (3 ft.) distance

Whispering at distance of

10 cm (4 in.) quiet conver- sation at 1 m (3 ft.) distance

Noise level in a good sound- isolated studio

much less sound energy is absorbed by a

Electromagnetic Wave Spectrum

directional microphone than an omnidirec-

Range of frequencies of electromagnetic

tional microphone.

radiation.

Distortion

Environment

Dynamic microphones virtually never dis-

Dynamic microphones will generally stand

tort the signal. To be precise, their distor-

up to extreme environmental conditions

tions at very high sound pressure levels

such as temperatures from -25 °C to +70 °C

(<130 dB) cannot be measured because

and high humidity.

loudspeakers are incapable of reproducing

 

such levels distortion free. For this reason,

Condenser microphones, however, are sus-

we state no maximum SPL for dynamic

ceptible to humidity and condensation.

microphones.

When an object is damp and colder than its

However condenser microphones with their

environment, condensation water will form

on its surface. Drops of condensation water

built-in preamplifier may overload at high

inside the transducer or high-impedance

sound levels. When close miking (from a

preamplifier will cause crackling noises.

few inches) loud instruments such as

 

drums or trumpets the microphone sensiti-

Storing condenser microphones:

vity should be reduced. With the C 535,

 

simply use the preattenuation switch.

1. Store the microphone in a dry and warm

Directional Antenna

place. It should never be colder than its

environment. If it has been transported

Antenna whose sensitivity is highest within

in a cold car or van, allow it to warm up

a limited angle in front of the antenna.

before use.

Directional antennas are used mainly where

 

standard receiving antennas cannot be

2. The supplied silica gel absorbs humidity.

mounted within the range of the transmit-

It will maintain this property as long as

ters so the transmitter signals must be

you keep it in the sealed package and

picked up from greater distances (e.g., in

may be regenerated in the oven if neces-

open-air arenas).

sary.

Diversity

3. Be sure to protect condenser micropho-

Reception technique that ensures clear

nes from rain when using them outdoors.

reception even in difficult environments.

 

Diversity receivers use several antennas for

Equivalent Noise Level

the same carrier frequency and some

Since condenser microphones incorporate

models use several receiving sections, too.

a preamplifier, they introduce a low amount

Downtime

of self-noise which appears at the micro-

phone output as an unwanted signal volta-

Period of time during which a system is

ge. This noise voltage is measured using

inoperative.

standard weighting filters and the result

Dropout

stated as the equivalent noise level in dB.

An equivalent noise level of 20 dB, for

Momentary loss of signal due to squelch

instance, means that the self-noise of the

operation or interference.

microphone is as loud as a sound at 20 dB

 

SPL (see dB SPL).

Crosstalk

Dynamic Microphone

 

The undesired coupling of signals from one

A coil attached to a diaphragm is driven by

Noise level in quiet recording studio:

channel to another channel.

the sound waves and vibrates between the

A low equivalent noise level means that the

dB SPL

poles of a magnet. This movement induces

microphone's self-noise is low. The self-

in the coil a voltage which corresponds to

noise voltage is weighted either conforming

Decibel Sound Pressure Level. A measure

the sound pressure. Dynamic microphones

to IEC 268-1 and DIN 45 405 using the

of the sound level referenced to 20 µPa

handle high sound levels without overloa-

filter according to CCIR 468-3 with the

(the sound pressure corresponding to the

ding and are very rugged. They require no

“quasi-peak” value being quoted, or in

threshold of human hearing). A 6-dB

operating voltage. Dynamic microphones

accordance with IEC 651 or DIN 45 412

increase in SPL would sound about twice

from AKG are designated by the letter “N”

using the A-weighting curve with the rms

as loud.

in front of the model number. Also known

value being quoted. Studio engineers seem

Deep Fade

as “moving coil microphone”.

to prefer the CCIR weighting while A-

 

weighting is still accepted as well.

Massive decline of received signal strength

Electret Condenser Microphone

 

due to cancellation of the carrier in multi-

Condenser microphone that needs no pola-

ERP

path transmission situations.

rization voltage. Instead, a special metali-

Equivalent Radiated Power,

Directivity Factor

zed plastic “electret foil”, in which a per-

a measure of a transmitter's RF output.

manent electrical charge has been stored

 

The directivity of a microphone can be

by application of heat and a high polarizing

Far-Near Difference

expressed in terms of the amount of sound

voltage, is used either for the diaphragm or

The difference between the shortest and

energy it absorbs out of a diffuse sound

the fixed electrode. The latter type is called

the longest distance between stage and

field. The directivity factor indicates how

“back plate electret microphone”.

antenna.

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AKG Acoustics WMS 400 Electromagnetic Wave Spectrum, Distortion Environment, Directional Antenna, Diversity, Downtime

WMS 40, WMS 400, WMS 4000 specifications

AKG Acoustics has long been recognized as a premier brand in the professional audio industry, particularly in the realm of wireless microphone systems. Among its celebrated offerings, the WMS 4000, WMS 400, and WMS 40 series stand out for their advanced technology and robust performance, catering to a range of applications from live performances to studio recordings.

Starting with the WMS 4000, this system is engineered for versatility and reliability. It features a sophisticated transmission diversity system that minimizes dropouts and ensures clear audio quality. The WMS 4000 offers an extensive frequency range, accommodating diverse environments and frequencies. A standout feature is its digital pilot tone, which automatically mutes the transmitter when it is switched off, effectively preventing unwanted noise during transitions. With a range of up to 300 meters, the WMS 4000 is ideal for large venues, allowing performers ample space to move without compromising sound quality.

Next, the WMS 400 series maintains the high standards set by its predecessor while providing a more accessible option for mid-level performers. It combines ease of use with quality audio performance, boasting a user-friendly interface that simplifies setup and operation. The WMS 400 employs an efficient frequency management system, which automatically scans the environment to select the best frequencies available, ensuring optimal performance with minimal interference. The system also features a rugged metal chassis, enhancing durability for live applications.

The WMS 40 series serves as an entry-level solution, perfect for beginners and small venues. It is lightweight and features a straightforward design, making it easy to operate for users without extensive technical knowledge. One of its most notable characteristics is its plug-and-play functionality, allowing for quick setup without complicated configurations. The WMS 40 series also offers excellent sound quality through its crystal-clear audio transmission and robust reception, making it a popular choice for schools, theaters, and small events.

All of these systems benefit from AKG's heritage in sound engineering, incorporating advanced audio processing technologies that ensure superior sound fidelity. They also come with a variety of microphone options, including handheld, lavalier, and headworn microphones, providing flexibility to meet different performance needs. Whether for a professional stage or an intimate setting, the AKG WMS series delivers outstanding performance, reliability, and user-friendly features that cater to a wide range of audio applications.