C 414-B-XLS

AKG Service Department, Lembckgasse 21-25, A-1230 Wien, Austria.Tel.: (431)86654-0, FAX: (431)86654-1514, e-mail: service@akg.com

C 414-B-XLII

3059Z00.

13 6.1 6.13

High impedance board Hochohmprint
Amplifier board Verstrkerprint
LED + switch board LED + Schalterprint

Main board Hauptprint

C C C C 414 414

C C C C

1 1** 1** 1
B-XLS 3059Z0001 A B-XLS/ST 3059Z0021 A XLS 2059Z0005 C XLS/ST 3059Z0023 C
3*) 3*) 3.1 3.2 3.3 3.4 5*) 5*) 5.6 6.1 6.-----------

414 414

B-XLII 3059Z0002 B B-XLII/ST 3059Z0022 B XLII 3059Z0006 D XLII/ST 3059Z0024 D

C D Bezeichnung

Gehuse Gehuse Gehuse Gehuse Rahmen Rahmen Kapsel CK12 Kapsel CK12 Schraube fr Kapselanschluss Ltflgel Litze Aufhngung Hauptprint kpl. Hauptprint kpl. XLR - Steckereinsatz Print 2, komplett (LED + Schalterprint) Print 2, komplett (LED + Schalterprint) Schalter LED rot/grn LED grn Print 3, komplett (Verstrker) Print 4, komplett, mit Ltfahnen und

Abdeckung (Hochohmprint)

Description
Housing Housing Housing Housing Frame Frame Capsule CK12 Capsule CK12 Screw for capsule connection Solder tag Stranded wire Suspension Main Pcb 1 complete Main Pcb 1 complete XLR connector insert Pcb 2, complete (LED + switch board) Pcb 2, complete (LED + switch board) Switch LED red/green LED green Pcb 3, complete (amplifier) Pcb 4, complete, with solder pins and
cover (high impedance board)

Part Nbr. Best.-Nr.

3059Z1011 3059Z1012 3059Z1019 3059Z1020 3059Z1111 3059Z1113 2072Z0022 2072Z0023 2072Z0802 4149N6059 2847Z3204 2820Z1401 3059M0102 3059M0103 0016E0379 3059M0201 3059M0202 9040E0011 9014E0054 9014E0076 3059M0301 3059M1201(2) 3059M1701 3059M1702 3059M1704 3059M1705 3059M1801 3059M1803 3059M1001 3059M1002 3059M1005 3059M1003 3059Z1301 7500D3001 7500D2502 4786S0001 4786S0003 3830P0002 3828P3000 3828P0923 3828P0924 2802Z0301 2802Z0501 2803Z0007 6000H0571***) 6000H6001***) 6000H0632***)

B-XLII

Switch cover Switch cover Switch cover Switch cover Switch cover Switch cover Grille, black Grille, silver Grille, silver Grille, golden Inner grille Screw M3x8 for housing Screw M2,5x6 for XLR Label AKG silver Label AKG gold Hard case (not for ST versions) Hard case (for ST versions) Foam insert for ST case, upper Foam insert for ST case, lower Windshield W 414X Windshield W 414X Spider suspension H 85 Stereo bar H50 (ST versions only) Mic clip SA 60 (ST versions only) Pop filter PF 80 (not for ST versions)
Schalterblende XLS Schalterblende XL II Schalterblende XLS Schalterblende XL II Schalterblende Schalterblende Gitter, schwarz Gitter, silber Gitter, silber Gitter, gold Innengitter Schraube M3x8 fr Gehuse Schraube M2,5x6 fr XLR Label AKG silber Label AKG gold Koffer (nicht fr ST Varianten) Koffer (fr ST Varianten) Schaumeinlage fr ST Koffer, oben Schaumeinlage fr ST Koffer, unten Windschutz W 414X Windschutz W 414X Spinnenaufhngung H 85 Stereoschiene (nur bei ST Versionen) Stativadapter SA60 (nur bei ST ersionen) Popfilter PF 80 (nicht fr ST Varianten)
IMPORTANT! In case of a defective mainboard (5) please attend to the following. As a result of a new design of the mainboard (5) it is absolutly necessary to exchange also the high impedance board (8). In case of ordering the main board (5) as a spare part you will automatically get the high impedance board (8) additionally.
*) In case that these parts need to be exchanged, the resulting sensitivity may vary substantially from the original value. It is strongly recommended to, send those mics to AKG for repair. / Im Fall, dass diese Teile getauscht werden, kann die resultierende Empfindlichkeit wesentlich vom Originalwert abweichen. Es wird dringend empfohlen, solche Mikros zur Reparatur an AKG zu senden **) 2 pieces for 'ST' versions / 2 Stck fr 'ST' Varianten ***) Not available via Service Dept. Can be ordered as a standard sales item / Nicht ber Service erhltlich. Kann als regulrer Vertriebsteil bestellt werden.

Hints for disassembling

Undo screws 14 and 15 and remove housing 1. Take off switch cover 9 from the front side of the mic (golden or silver grille). This can be done by pressing onto the cover at it's upper edge (step 1) and turning it towards the front (step 2). Now remove printed circuit board 7 as shown (step 3). Shift out board assembly consisting of item 6 and 8 (step 4) until board 5 can be taken away. Finally by slipping the board assembly completely out from it's guide parts 6 and 8 can be separated. When reassembling please watch for correct positioning and connection of all contacts between the various connectors of all printed circuit boards. Once one of the stranded wires 3.3 to the capsule is broken, it shall not be re-soldered but replaced !!

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 sales@akg.com anfordern.
Frequenzgang C 414 B-XLS Polardiagramm C 414B-XLS / C 414B-XLII Kugel Frequenzgang C 414 B-XL II

Breite Niere

Hyperniere

Achter

1 Safety/Description
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

1.2 Unpacking

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.

1 Description

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

2 Powering
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 +

(Table 2)

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