User manual AKG C 414 B-ULS

[. . . ] 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. [. . . ] The C 414 B-ULS 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!4: Circuit using an input transformer with a center tap (floating). 5: Circuit using an input transformer with no center tap (floating). To satisfy the symmetry requirement, use resistors with 0. 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. 6: Two ways to add phantom power to an unbalanced input. 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. Place one C 414B 8 to 12 inches (20 to 30 cm) away from the guitar and aim at the sound hole. , 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. 11: Miking an acoustic guitar with a single C 414B. 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. To minimize key noise, place the microphone a little ways to the side of the instrument. 12: Miking the flute with a single microphone. 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. 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. [. . . ] 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. 2 Windscreen You can clean all metal surfaces with (industrial grade) methylated spirits or alcohol. [. . . ]