Bodypack Transmitter: Connecting A Microphone/Instrument And Setting Input Gain; Before The Soundcheck; Finding Dead Spots - Harman AKG WMS450 Mode D'emploi

3.9.3 Bodypack Transmitter:
Connecting a
Microphone/Instrument and
Setting Input Gain
Important!
Refer to fig. 12 on page iii.

3.10 Before the Soundcheck

Important!
Refer to fig. 1 on page ii.

3.10.1 Finding Dead Spots

Diagram 8: Using the Rehearsal
function to find dead spots
(dropouts).
26
3 Setting Up
The PT 450 bodypack transmitter has been designed primarily for use with "L" type MicroMic Series
microphones from AKG (see section 2.7). If you wish to connect other microphones from AKG or other
manufacturers to the PT 450, please note that you may have to rewire the existing connector of your
microphone or replace it with a 3-pin mini XLR connector.
Audio input pinout:
Pin 1: shield
Pin 2: audio (inphase)
Pin 3: audio
A positive supply voltage of 6 volts for condenser microphones is available on pin 3.
Please note that AKG cannot guarantee that the PT 450 bodypack transmitter will work perfectly
with products from other manufacturers and any damage that may result from such use is not cov-
ered by the AKG warranty scheme.
1. Plug the mini XLR connector (1) on the cable of your microphone or on the MKG L instrument cable
(2) into the audio input connector (3) on the bodypack transmitter.
2. Set the ON-MUTE/PRG-OFF switch (4) to "ON".
3. Switch power to the receiver on.
4. Open the battery compartment on the bodypack transmitter.
5. Speak or sing into the microphone or play a few bars on your instrument (the louder the better).
6. Use the integrated screwdriver (6) on the battery compartment cover (5) to set the gain control (7) to
the point where the signal will optimally drive the receiver's audio section (green AF OK LED lit, Audio
bargraph indicating 0 dB on peaks).
7. Close the battery compartment.
1. Activate the Rehearsal function on the receiver referring to section 3.10.1 below.
2. Move the transmitter around the area where you will use the system to check the area for "dead
spots", i.e., places where the field strength seems to drop and reception deteriorates.
If you find any dead spots, try to eliminate them by repositioning the receiver or the antennas. If this
does not help, avoid the dead spots.
3. If the received signal is noisy, set the squelch threshold to a level where the noise will stop. (Refer to
section 3.10.2.)
Never set the squelch threshold any higher than absolutely necessary. The higher the squelch
threshold (-80 dB = max., -100 dB = min.), the lower the sensitivity of the receiver and thus the
usable range between transmitter and receiver.
4. The RF bargraph on the receiver extinguishing and the red RF MUTE LED (5) coming on mean that no
signal is being received or the squelch is active.
Switch the transmitter ON, move closer to the receiver, or set the squelch threshold to the point that
the green RF OK LED (5) will illuminate and the RF bargraph reappear.
The Rehearsal function detects a maximum of six dropouts and records the time each dropout occurred,
the minimum field strength at each antenna, and the maximum audio level. You can view the list of results
after the recording has stopped.
REHEAR
RHSL
>EXIT< >START<
RHSL
RHSL
RECORD
RHSL
"D1 124" MIN RF
RHSL RHSL
List of results
Move the transmitter around the area
where you will use the system.
Up to six dropouts are recorded.
You can stop the recording at any time
by pressing o briefly.
OVFL
D1: The recording has been completed,
RHSL
the display indicates dropout no. 1.
MIN RF: The recording has been com-
pleted, no dropout has been detected.
The display indicates the minimum RF
>EXIT<
level measured.
OVFL: The recording has been stopped
automatically because six dropouts
have been detected already or because
REHEAR
the available time (16 minutes) has
RHSL
elapsed.
AKG WMS 450 V 1.10