AKG C 414 B-ULS
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AKG C 414 B-ULS
AKG C 414 B ULS by Eng. Dante Sadott in Harmony DSPR
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Large Diaphragm Condenser Microphone Description
The AKG Model C 414 B/ULS is certainly the most ubiquitous studio condenser microphone in the United States, and very likely in the rest of the world as well. It is designed around dual back-to-back large 1 in. (25 mm) gold sputtered diaphragms for multiple pickup patterns. The microphone's pickup patterns are easily switchable among omnidirectional, cardioid, hypercardioid, and figure-eight. Additional flexibility in the studio operating environment allows a bass cut of 12 dB/octave below 150 or 75 Hz and pre-preamp attenuation of either 10 or 20 dB. The self noise of the microphone is a low 14 dB (A weighted). On-axis sensitivity for all patterns is 12.5 mV/Pa, and for unpadded operation maximum program level is 140 dB for 0.5% total harmonic distortion. The C 414 B/ULS is one of the most accurate multi-pattern microphones available to the engineer. The far-field on-axis response for all four switchable patterns is remarkably flat, varying no more than +/-2 dB over the range from 20 to 20 kHz.
C 414 B/ULS
Transducer Principle: Frequency Range: Polar Pattern: Condenser, externally polarized 2020,000 Hz Omnidirectional, cardioid, hypercardioid, and figure-eight H 100
Sensitivity at 1,000 Hz: 12.5 mV/Pa =^ -38 dBV Equivalent Noise Level: 14 dB-A Sound Pressure Level for 0.5% THD: 134 dB, wide-band (unpadded) 140 dB, 1 kHz (unpadded) S/N Ratio (A-weighted): 80 dB Electr. Impedance: Load Impedance: Power Requirement: Connector: Finish: Size: Net/Shipping Weight: 180 ohms > 1,000 ohms 1248 volts nominal Phantom powering 3-pin XLR type Non-reflective black 5.6 x 1.8 x 1.4 in. (141 x 45 x 35 mm) 11 oz. (320 g)/2.1 lbs. (950 g)
One of the world's most celebrated studio condenser microphones Large 25 millimeter gold sputtered diaphragm format optimized for studio applications Dual diaphragm for multiple polar patterns High acoustic level capability (140 dB-SPL for 0.5% THD) Low self noise (14 dB-A)
Included Accessories: H 100 Elastic Suspension W 414 Windscreen Optional Accessories: SA 18/3 B Stand Adapter B 18 Battery supply unit N 62 E Power supply
Architects and Engineers Specifications
The microphone shall provide at least four switchable pickup patterns that are nominally omnidirectional, cardioid, hypercardioid, and figure-eight. The microphone shall have maximum sensitivity along its radius, and that sensitivity shall be no less than 12.5 mV/Pa for all patterns. The microphone shall provide a switchable 12 dB/octave roll-off at frequencies of 75 and 150 Hz. Pre-preamp attenuation switches of -10 and -20 dB shall also be provided, and the self noise floor of the microphone in its unpadded operation shall be no greater than 14 dB (A weighted). The unpadded microphone shall operate in a wide-band sound field of 140 dBSPL with no more than 0.5 % total harmonic distortion. The microphone case shall fit within a rectangular envelope no larger than 141 x 45 x 35 mm. The microphone shall be the AKG Acoustics Model C 414 B/ULS.
Omnidirectional On-axis Frequency Response (measured at 1 meter) Polar Response
Cardioid On-axis Frequency Response (measured at 1 meter)
Hypercardioid On-axis Frequency Response (measured at 1 meter)
Figure eight On-axis Frequency Response (measured at 1 meter)
Valid only in the United States. AKG Acoustics warrants AKG products against defects in material or workmanship for a period of three years from the date of original purchase for use, and agrees to repair or, at our option, replace any defective unit without charge for either parts or labor. Important: This warranty does not cover damage resulting from accident, misuse or abuse, lack of reasonable care, the affixing of any attachment not provided with the product, loss of parts or connecting the product to any but the specified receptacles. This warranty is void unless service or repairs are performed by an authorized service center. No responsibility is assumed for any
special, incidental or consequential damages. However, the limitation of any right or remedy shall not be effective where such is prohibited or restricted by law. Simply take or ship your AKG product prepaid to our service department. Be sure to include your sales slip as proof of purchase date. (We will not repair transit damage under the no-charge terms of this warranty.) Note: No other warranty, written or oral is authorized by AKG Acoustics, Inc. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state. Some states do not allow the exclusion or limitation of incidental or consequential damages or limitation on how long an implied warranty lasts, so the above exclusions and limitation may not apply to you.
Microphones Headphones Wireless Microphones Wireless Headphones Headsets Electroacoustical Components
AKG Acoustics GmbH Lembckgasse 2125, P.O.B. 158, A-1230 Vienna/AUSTRIA Tel: (43 1) 86 654-0*, Fax: (43 1) 86 654-516 Internet: http://www.akg.com AKG Acoustics; A Division of Harman Pro Germany Bodenseestrae 228, D-81243 Mnchen/GERMANY Tel: (089) 87 16-0, Fax: (089) 87 16-200 Arbiter Pro Audio Wilberforce Road, London NW9 6AX/ENGLAND Tel: (0181) 202 1199, Fax: (0181) Specifications subject to change without notice. AKG ACOUSTICS, U.S. 914 Airpark Center Drive Nashville, TN 37217, U.S.A. Tel: (615) 620-3800, Fax: (615) 620-3875 Studer Japan Ltd. 2-43-7, Uehara, Shibuya-ku, Tokyo 151-0064/JAPAN Tel: (813) 3465-2211, Fax: (813) 3465-2214 Erikson Pro Audio 620 McCaffrey, St-Laurent, Quebec, H4T 1N1, CANADA Tel: (514) 738-3000, Fax: (514) 737-5069 Internet: www.jam-ind.com/eriksonpro
DS-C 414 B/ULS
AKG is constantly improving and modifying its products, therefore, specifications are subject to change without notice.
5 Technische Daten
Arbeitsweise: Richtcharakteristik: Leerlauf-bertragungsfaktor: bertragungsbereich: Elektrische Impedanz: Empfohlene Lastimpedanz: Steilheit des Tiefenabsenkungs-Filters: 25 mm-Gromembransystem nach Druckgradientenprinzip Kugel, breite Niere, Niere, Hyperniere, Achter 23 mV/Pa (-33 dBV 0,5 dB) 20 bis 20.000 Hz (siehe Frequenzkurven) 200 Ohm 2200 Ohm 12 dB/Oktave mit Einsatzpunkt bei 40 Hz und 80 Hz, oder 6 dB/Oktave mit Einsatzpunkt bei 160 Hz schaltbar auf -6 dB, -12 dB, -18 dB 20 dB (0 dB Vorabschwchung) 6 dB-A (0 dB Vorabschwchung) 88 dB 200/400/800/1600 Pa 140/146/152/158 dB SPL (0/-6/-12/-18 dB) 134 dB min. 5 V eff. (+14 dBV) Temperaturbereich: -10C bis +60C Rel. Luftfeuchte: 95% (+20C), 85% (+60C) 48 Volt Phantomspeisung nach DIN/IEC ca. 4,5 mA XLR-3 Type nach IEC 50 x 38 x 160 mm 300 g, netto
Vorabschwchung: Ersatzgeruschpegel nach CCIR 468-2: quivalentschalldruckpegel nach DIN (A-bew.): Geruschpegelabstand bez. auf 1 Pa (A-bew.): Grenzschalldruck fr k = 0,5%: Dynamikbereich: Max. Ausgangspegel: Zulssige klimatische Verhltnisse: Speisespannung: Stromaufnahme: Steckerbeschaltung: ussere Abmessungen: Gewicht:
Dieses Produkt entspricht den in der Konformittserklrung angegebenen Normen. Sie knnen die Konformittserklrung auf http://www.akg.com oder per E-Mail an email@example.com anfordern.
Frequenzgang C 414 B-XLS Polardiagramm C 414B-XLS / C 414B-XLII Kugel Frequenzgang C 414 B-XL II
1.1 Safety Please make sure that the piece of equipment your microphone will be connected to fulfills the safety regulations in force in your country and is fitted with a ground lead. C 414B-XLS or C 414B-XL II H 85 shock mount PF 80 pop screen W 414X foam windscreen Original frequency response trace with serial number and production date code High quality carrying case for microphone and standard accessories C 414B-XLS/ST or C 414B-XL II/ST 2 x H 85 shock mounts 2 x W 414X foam windscreens 1 x H 50 stereo bar Original frequency response trace with serial number and production date code High quality carrying case for microphones and standard accessories
Check that the packaging contains all of the components listed for your model. Should anything be missing, please contact your AKG dealer. 1.3 Optional Accessories 1.4 C 414B-XLS MK 9/10: 10-m (30-ft.) 2-conductor shielded microphone cable with male and female XLR connectors B 18 + A 48V: battery supply and DC/DC converter for location use H 50: stereo bar for mounting two microphones SA 18/3B: all-metal stand adapter SA 60: plastic stand adapter
This large-diaphragm condenser microphone has been designed on the basis of feedback from sound engineers who have used the C 12A, C 12B, C 414comb, C 414EB-P 48, C 414B-ULS, and C 414B-TL II microphones in recording studios around the world for years. Using advanced, reliable components that provide more functions in the same space, the C 414B-XLS meets the highest professional standards and will withstand the typical tough handling in the recording studio for many years. The electronic circuitry of the microphone has been redesigned to achieve completely linear transfer characteristics of all electrical parameters. Extremely low self-noise and high headroom add up to a dynamic range of approximately 134 dB (A-weighted) that is far superior to figures quoted for conventional condenser microphones and other studio equipment.
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 414B-XLS / C 414BXL II provides three separate dual pushbuttons for selecting the polar pattern, preattenuation pad, and bass cut filter, each with an LED bar indicating the selected setting. The selectors and indicator LEDs are only active as long as power (48 V phantom power) to the microphone is on. To select the desired value or polar pattern, press the desired arrow on the appropriate selector once or several times. A yellow/green LED above the appropriate value or symbol is lit to indicate the selected setting. To select a different setting after having reached the last position available, press the opposite arrow on the selector. (Pressing the same arrow again will not set the parameter back to its initial position.) When you switch phantom power to the microphone off, the last active settings of all three selectors will be saved in memory and automatically loaded as soon as you switch phantom power to the microphone back on. To prevent settings from being changed unintentionally, you can lock all three selectors: Press and hold one of the arrows on the polar pattern selector (1) for at least 3 seconds. To unlock the selectors, press and hold the polar pattern selector (1) for at least 3 seconds again or disconnect the microphone from power (48 V phantom power). 1.4.1 Controls
1 Polar Pattern Selector*) Selector 1 on the microphone front panel (refer to fig. 1) lets you select one of five different polar patterns so you can use the microphone in the most diverse recording situations. All polar patterns are largely frequency-independent for realistic and uncolored off-axis sound.
Fig. 1: Polar pattern selector.
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 distortionfree close-in recording. The preattenuation pads prevent the microphone's output level, particularly at low frequencies, from overloading the miniature transformers used in mixer input stages, etc. Fig. 2: Preattenuation selector. *) Note: To keep noise levels in the microphone input stage as low as possible, the entire transducer section uses extremely highimpedance circuitry. Therefore, the selected (changed) polar pattern or preattenuation setting will take about 10 to 15 seconds to become active. 3 Bass Cut Selector Selector 3 on the microphone rear panel (refer to fig. 3) further 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 strong proximity effect that may arise when close-in miking from less than 6 inches. Fig. 3: Bass cut selector. Overload Indication The polar pattern indicator LEDs also provide an overload indication. If the output level of the microphone equals or exceeds a value of approximately 2 dB below the overload limit, the currently active LED will change to red for about 0.3 seconds. If it does, we recommend increasing the preattenuation by one or more "notches" using Selector 2. The C 414B-XL II is identical to the C 414B-XLS except for a slight high-frequency peak above 3 kHz.
1.5 C 414B-XL II
This section applies to both the C 414B-XLS and the C 414BXL II. The C 414B-XLS and C 414B-XL II provide extremely low selfnoise 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 DIN/IEC 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 DIN/IEC with a floating connector, using a balanced cable with studio grade connectors to IEC 268-12 only. This is the only way to ensure safe and reliable operation. We recommend the following methods to add phantom power to microphone inputs: Important! Note:
Fig. 4: Circuit using an input transformer with a center tap (floating).
Fig. 5: Circuit using an input transformer with no center tap (floating). Standard value for Rv (or 2 x Rv) V DC 48 V 4 V Rv 3300 ohms 2 x Rv 6800 ohms Table 1: Feeding resistor to DIN/IEC
To satisfy the symmetry requirement, use resistors with 0.5% maximum tolerance for 2 x Rv.
When adding phantom power to a grounded or transformerless input, be sure to insert either capacitors or a transformer into the audio line to prevent current leakage into the input circuitry.
Fig. 6: Two ways to add phantom power to an unbalanced input.
3 Using the Microphone
3.1 Introduction 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 414B-XLS features a very smooth frequency response and the typical sound of AKG largediaphragm 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 414B-XLS for most musical instruments (see also sections 3.6 and 3.7). Selector 1 lets you optimally adjust the microphone's polar pattern to the instrument to be recorded and the recording environment. The switchable bass cut filters at 40 Hz and 80 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.
3.2 Bass Cut Filters
3.3 Preattenuation Pads
The C 414B-XL II has been designed as a sonic alternative to the standard C 414B-XLS. It is identical to the C 414B-XLS with the exception of a slight high-frequency rise at 3 kHz and above. This HF boost enhances the presence of vocals, so we specifically recommend the C 414B-XL II for miking up solo voices or solo instruments (see also sections 3.6 and 3.7). In addition, it is an excellent choice for distant miking, e.g. suspended from a concert hall ceiling. 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. To mount the H 85 on a stand with a 5/8" thread, remove the tread insert and screw the H 85 directly on the stand. To remove the H 85 from the microphone, rotate the bayonet-type lock at the lower end of the H 85 CCW to the point that the H 85 unlocks. 3.4 C 414B-XL II
3.5 Stand Mounting
We recommend the C 414B-XLS and C 414B-XL II for the following recording studio applications: Sound source Lead/solo vocals Backing vocals/choir Speech Acoustic guitar Electric guitar Electric bass Double bass Violin Cello Zither Grand piano (classical) Upright piano (rock & jazz) Organ Trumpet Trombone French horn Tuba Saxophone Flute Clarinet Harmonica C 414 B-XLS + ++ + ++ + ++ ++ ++ + ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ + ++ + ++ + ++ + ++ ++ ++ ++ C 414 B-XL II ++ ++ ++ + + + ++
3.6 Application Areas
Table 2: Recommended applications.
Sound source Bass drum Toms Cymbals Bongos, congas ++ Highly recommended + Recommended 3.7 Hints on Microphone Placement 3.7.1 Lead Vocals As an introduction to the "secret science of making good recordings", the following sections describe some proven miking techniques. Working distance: 6 to 12 inches (15 to 30 cm) Polar pattern: cardioid Bass cut: ON (40 or 80 Hz) W 414X windscreen or PF 80 pop screen recommended To give the talent better control of their own voice, we recommend adding the talent's track to their headphone monitor signal. To record large mixed choirs, we recommend using one stereo microphone plus one spot microphone each for the soprano, alto, tenor, and bass sections. In rooms with good acoustics, a single stereo microphone or two matched mono microphones will often do the trick. Backing vocals/technique 1: If you have enough tracks available, we recommend overdubbing each voice separately (refer to section 3.7.1 Lead Vocals above). Backing vocals/technique 2: If you use a separate microphone for each of several vocalists simultaneously, set each microphone to hypercardioid to preC 414 B-XLS ++ + + + C 414 B-XL II +
Fig. 7: Solo vocalist. 3.7.2 Choir/ Backing Vocals
vent crosstalk, particularly if the microphones are closely spaced. Backing vocals/ technique 3: If you use a single microphone for the entire group, select the cardioid or omni pattern and place the vocalists in a semicircle in front of the microphone.
Fig. 8: Backing vocalists sharing a single microphone. Solo violin: Direct the microphone to the f holes from a height of 6 to 8 feet (1.8 to 2.5 m) above the floor. Large string sections: Use a combination of a main microphone in an XY, MS, ORTF, or other stereo configuration and close-in spot microphones. Viola: Direct the microphone to the f holes from a height of 7 to 10 feet (2.2 to 3 m) above the floor. 3.7.3 Violin, Viola
Fig. 9: Violin.
3.7.4 Double Bass, Cello Double bass: Align the microphone with one of the f holes from a distance of about 16 inches (40 cm). If you need to record the double bass together with an ensemble, place the microphone closer to the instrument and set the polar pattern to hypercardioid to prevent leakage from other instruments into the bass microphone.
Fig. 10: Double bass. Cello/technique 1: Refer to "Double bass" above. Cello/technique 2: Use a close-in microphone as in technique 1 above plus a distant microphone. Set the level of the close-in microphone approx. 20 dB lower than the distant mic level. 3.7.5 Acoustic Guitar We recommend using two microphones. Place one C 414B 8 to 12 inches (20 to 30 cm) away from the guitar and aim at the sound hole. Aim a small-diaphragm microphone (e.g., a C 451B) at a point near the bridge from a distance of about 3 1/2 feet (1 m) or at the body from a point below and to the rear of the instrument.
Fig. 11: Miking an acoustic guitar with a single C 414B.
We recommend using two microphones. Place mic 1 above and to one side of the player (to reduce blowing noise) and align it with the player's mouth, and aim mic 2 at the instrument from the side. 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 2.5 m) above the floor. Point the microphone at the lowest key. To minimize key noise, place the microphone a little ways to the side of the instrument. 3.7.6 Flute
Fig. 12: Miking the flute with a single microphone. 3.7.7 Clarinet
Fig. 13: Clarinet. 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). 3.7.8 Tenor and Soprano Saxophones
Fig. 14: Tenor saxophone (a), soprano saxophone (b).
3.7.9 Trumpet, Trombone Place the microphone about 1 foot (30 cm) in front of the instrument, slightly off the bell axis. Switch in one of the preattenuation pads. Using the supplied windscreen will help reduce blowing noise.
Fig. 15: Trumpet (a), trombone (b). 3.7.10 Grand and Upright Pianos
b Grand piano: Aim a single C 414B or an XY, MS, or ORTF pair of C 414Bs at the middle strings from a height of 5 to 7 feet (1.5 to 2 m). For a rock/pop sound, place two C 414Bs roughly 8 to 16 inches (20 to 40 cm) above the strings. Align mic 1 with the treble strings and mic 2 with the bass strings, both at a point about 6 inches (15 cm) behind the dampers. Upright piano: Use the same technique as for the grand. Open the lid and have the microphones "peek into the instrument" from above.
Fig. 16: Grand piano.
Fig. 17: Upright piano.
Electric guitar: Position the microphone 3 to 6 inches (8 to 15 cm) in front of the speaker, aiming at a point off the speaker diaphragm center. Use the bass cut and a preattenuation pad. You may want to use an additional distant microphone. Electric bass: Use the same technique as for the electric guitar. You can use a DI box to add the direct signal of the line output on the bass amp to the microphone signal. Overhead miking: Place two C 414Bs in an AB or XY configuration about 2 3/4 to 4 feet (80 to 120 cm) above the drummer's head. This technique will pick up the entire kit, delivering a highly natural sound. Use little or no EQ! Hanging and floor toms: Use one microphone for each tom or for every two toms, aligning the microphone with the rim of the top head. To reduce leakage from other instruments, attenuate the HF range above 10 kHz using the channel EQ(s). Bass drum: Remove the resonance head and place the microphone right inside the shell. Be sure to switch in the 18-dB preattenuation pad because sound pressure levels may rise to 160 dB. 3.7.11 Electric Guitar/Bass
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