AKG C 411 PP Kondezatorski mikrofon za instrumente

Miniature Condenser Vibration Pickup for Acoustic Instruments

Capturing the natural voice of an acoustic instrument on a loud stage demands a pickup that rejects ambient noise while preserving tonal detail. The AKG C 411 PP addresses this challenge with a pre-polarized condenser transducer housed in a sealed enclosure — a fundamentally different approach from the piezo elements found in most contact microphones. Built for acoustic guitar, mandolin, violin, and similar stringed instruments, this model reproduces vibrations clearly and without coloration across a remarkably wide frequency range. Stage performers, sound designers, and field recordists all benefit from the extended low-end response that reaches down to 10 Hz. Weighing just 18 g, the pickup mounts discreetly near the bridge using a nonmarking adhesive compound, leaving the instrument's balance and finish untouched.

Condenser Transducer Technology in a Contact Microphone

What sets this pickup apart from virtually every other contact microphone on the market is its condenser capsule rather than a piezo crystal. Piezo elements tend to accentuate midrange harshness and roll off extreme frequencies, whereas the pre-polarized condenser transducer in the C 411 PP delivers a flat, uncolored response from 10 Hz to 18 kHz. This makes the microphone equally useful for live instrument reinforcement and creative sound-design applications — from capturing the deep body resonance of a guitar to recording structural vibrations for film and game audio.

Frequency Response and Polar Pattern for Stage Isolation

Live performance environments are unforgiving: monitor bleed, crowd noise, and other instruments all compete for headroom. A contact pickup that rejects off-axis sound becomes invaluable in these situations.

• Frequency Range: 10 Hz – 18 kHz — extended sub-bass reach captures body resonance and low-end fundamentals that piezo pickups miss entirely
• Polar Pattern: Figure of eight — rejects sound arriving from the sides, focusing on vibrations transmitted directly through the instrument body
• Clean gain staging is possible, as the output sensitivity of 2 mV/Pa is suitable for use with standard microphone preamplifiers.

Ultralight Construction for Non-Invasive Instrument Attachment

Adding mass to a vibrating soundboard changes its behavior. Keeping the pickup as light as possible preserves the instrument's natural acoustic properties while still providing reliable amplification.

• Pickup Weight: 18 g — ultralight design does not alter the balance or resonance of the instrument
• Dimensions: 9.7 × 14.2 × 26.7 mm — compact form factor fits near the bridge or on the soundboard without interfering with playing technique
• This pickup attaches securely using a nonmarking, solvent-free adhesive compound, and removes easily with no residue left behind, protecting lacquer and varnish finishes from damage.

Phantom-Powered XLR Connectivity for Professional Signal Chains

Integrating a contact pickup into a professional live or studio setup requires standard connectivity and reliable power delivery. The MPAV standard XLR output on this model connects directly to any mixer or preamplifier with phantom power — no proprietary adapters or body-pack transmitters needed.

• Connector: MPAV standard XLR, 3-pin female — direct connection to standard microphone inputs on mixers and audio interfaces
• Compatibility with all standard phantom power supplies, from 9–52 V and approximately 2.2 mA current draw, means mobile recording and busking setups work effortlessly.
• Electrical Impedance: 200 Ω — low-impedance output suitable for long cable runs without signal degradation
• Maximum SPL: 96 dB (1% THD) / 103 dB (3% THD) — handles aggressive playing dynamics without distortion

Acoustic Performers, Sound Designers, and Field Recordists

Acoustic guitarists performing on noisy stages need a pickup that isolates their instrument from monitor bleed and crowd noise without sacrificing tonal warmth. Mandolin and violin players in folk, bluegrass, and world-music ensembles benefit from the same isolation and natural reproduction. Beyond traditional instrument amplification, the extended 10 Hz low-end response makes this microphone a valuable tool for sound designers and field recordists who capture structural vibrations, contact sounds, and textural ambience for film, game, and music production.