User manual AKG SC 414 XL II

[. . . ] A dual-diaphragm transducer allows you to select one of several polar patterns. The diaphragm is made of a plastic foil that is gold-sputtered on one side only to prevent shorting to the back electrode even at extremely high sound pressure levels. The all-metal body adds to the rejection of RF interference so you can use the microphone near transmitter stations, along with wireless microphones or other communications equipment. Unlike earlier versions of the C 414, the C 414 XLS / C 414 XLII provides three separate bidirectional pushbuttons for selecting the polar pattern, preattenuation pad, and bass cut filter, each with an LED bar indicating the selected setting. [. . . ] The 160 Hz setting minimizes the proximity effect that may arise when close-in miking from less than 6 inches. 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. the C 414 XLII has been designed as a sonic alternative to the standard C 414 XLS , and 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-frequency rise at 3 kHz and above. 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 microphones selected by AKG's sophisticated computer-aided matching method. The C 414 XLS and C 414 XLII provide extremely low self-noise yet high headroom. The only way to meet these strict engineering requirements was to limit the powering options for both microphones to 48 V phantom power to IEC 61938 only. This standard requires a positive voltage of 48 V with reference to the cable shield. Do not connect the microphone to any power supply other than a phantom power source (input with phantom power or external phantom power supply) to IEC 61938 with a floating connector, using a balanced cable with studio grade connectors to IEC 268-12 only. Besides offering high headroom, minimum distortion, as well as temperature and humidity resistant construction, the microphone is suited for a uniquely wide range of applications. The standard version C 414 XLS features a very smooth frequency response and the typical sound of AKG large-diaphragm microphones. This sound has hardly changed over the many years the C 414 has been in production, and the C 414 has become an "industry standard" against which most competitive or new products are compared. You can use the C 414 XLS for most musical instruments (see also sections 4. The switchable bass cut filters at 40 Hz, 80 Hz, and 160 Hz will effectively cancel out any unwanted noise such as blower noise from air conditioning systems, etc. , or low-frequency noise due to floor vibrations, handling noise, etc. Without affecting the sound of the recorded voice or instrument on tape. the switchable preattenuation pads allow you to increase the microphone's headroom. Remember to check that the equipment connected to the microphone (microphone preamp, mixer input, recorder input) can handle the maximum output level of the microphone without causing distortion. â· The supplied H 85 shock mount has a standard 3/8" thread insert so you can mount the microphone on almost every commercial stand or suspension with a 3/8" thread. [. . . ] If you prefer to use a single microphone, place the microphone as mic 1 above at a distance of about 7 to 8 1/2 feet (2 to 2. To minimize key noise, place the microphone a little ways to the side of the instrument. Aim the microphone at the middle of the instrument from a distance of about 2 to 3 1/2 feet (50 cm to 1 m). 9 Trumpet, Trombone Place the microphone about 1 foot (30 cm) in front of the instrument, slightly off the bell axis. [. . . ]