2 Description

2 Preattenuation Pad Selector*)

Selector 2 on the microphone rear panel (refer to fig. 2) lets you increase the headroom by 6 dB, 12 dB, or 18 dB for distortion-free close-in recording. The preattenuation pads pre- vent the microphone's output level, particularly at low frequencies, from overloading the miniature transformers used in mixer input stages, etc.

*) Note:

•To keep noise levels in the microphone input stage as low as possible, the entire trans- ducer section uses extremely high-impedance circuitry. Therefore, the selected (changed) polar pattern or preattenuation setting will take about 10 to 15 seconds to become fully active.

3 Bass Cut Selector

Selector 3 on the microphone rear panel (refer to fig. 3) reduces low-end distortion caused by footfall or wind noise, etc. The filter slope is more than 12 dB/octave at the 40 Hz and 80 Hz settings and 6 dB/octave at the 160 Hz setting. The 160 Hz setting minimizes the prox- imity effect that may arise when close-in miking from less than 6 inches.

Overload Indication with Peak Hold Function

The polar pattern indicator LEDs also provide an overload indication.

With conventional peak indicators, overload peaks lasting only for a fraction of a second may easily escape your attention. The new peak hold function of the C 414 XLS and C 414 XLII, however, makes sure you will notice even the shortest overload peak: If the output level of the microphone equals or exceeds a value of approximately 2 dB below the overload limit, the currently active polar pattern LED will change to red for about 3 seconds. If this happens, we recommend increasing the preattenuation by one or more "notches" using Selector 2.

Fig. 2: Preattenuation selector.

Fig. 3: Bass cut selector.

The C 414 XLII has been designed as a sonic alternative to the standard C 414 XLS, and

2.4 C 414 XLII

closely approximates the sound of the legendary AKG C 12. It is identical to the C 414 XLS

 

with the exception of a completely different acoustic resistor that provides a slight high-fre-

 

quency rise at 3 kHz and above. This HF boost enhances the presence of vocals, so we

 

specifically recommend the C 414 XLII for miking up solo voices or solo instruments (see also

 

sections 4.5 and 4.6). In addition, it is an excellent choice for distant miking, e.g. suspended

 

from a concert hall ceiling.

 

 

 

2.5 Stereo Pairs

Realistic stereo recordings require microphones with outstanding performance and excellent

quality. They also require consistent performance and accurate localization throughout the

 

entire frequency range from the pair of microphones.

 

Therefore, every factory-matched pair of C 414s is created from thousands of individual mi-

 

crophones selected by AKG's sophisticated computer-aided matching method.

 

The C 414 XLS and C 414 XLII matched stereo pairs thus provide the highest possible corre-

 

lation over the microphones' entire frequency range and virtually identical sensitivity for

 

stunning, three-dimensional recordings.

 

 

 

 

C 414 XLS / XLII

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AKG Acoustics C414 XLII, C414 XLS manual Preattenuation Pad Selector, Bass Cut Selector, From a concert hall ceiling
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C414 XLII, C414 XLS specifications

The AKG Acoustics C414 is a celebrated series of large-diaphragm condenser microphones, widely recognized in both studio and live sound applications. Among the most popular models within this line are the C414 XLS and C414 XLII, each offering distinct characteristics suited for varying audio needs.

The C414 XLS is designed for versatile recording scenarios. Its frequency response spans from 20 Hz to 20 kHz, providing a clear and accurate representation of audio sources. The XLS features a large diaphragm that helps capture detailed high frequencies while maintaining a rich low-end response. One of its standout features is the switchable polar patterns, offering nine options: omnidirectional, wide cardioid, cardioid, hypercardioid, and bidirectional, along with intermediate settings. This flexibility makes the XLS suitable for diverse recording environments, whether capturing vocals, acoustic instruments, or entire ensembles.

Meanwhile, the C414 XLII is tailored more specifically for vocals and solo instruments. It boasts a slightly modified frequency response that enhances the presence and clarity of the mid and high frequencies, making it a popular choice for studio vocal recording. The XLII is praised for its bright, open sound and ability to deliver a modern, polished quality, effectively capturing the nuances of vocal performances.

Both microphones employ AKG’s renowned advancements in transducer technology. The large, dual-diaphragm design not only contributes to their exceptional audio fidelity but also allows for precise pattern switching without altering frequency characteristics. Additionally, a low self-noise level ensures that even the most subtle sounds are recorded accurately, making them ideal for microphones used in quiet environments.

Another significant feature of the C414 series is the built-in attenuation pad and high-pass filter. The 20 dB pad enables the microphones to handle high sound pressure levels without distortion, providing flexibility when recording loud sources, such as drums or brass instruments. The high-pass filter effectively minimizes low-frequency rumble and handling noise, further enhancing clarity in recordings.

Durability is an essential aspect of the C414 series, as both models are built to withstand the rigors of professional use. With a rugged body design and high-quality components, these microphones deliver consistent performance day in and day out.

In conclusion, the AKG Acoustics C414 XLS and C414 XLII microphones are industry standards, thanks to their versatility, advanced technology, and exceptional sound quality. Whether you are a seasoned professional or an aspiring audio engineer, these microphones are sure to elevate your recordings to new heights.
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