User manual AKG C 414 LTD

[. . . ] 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. 4 Controls Unlike earlier versions of the C 414, the C 414 LTD 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. [. . . ] The C 414 LTD LImited Edition 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 LTD for most musical instruments (see also section 3. The selectable 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. 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. The supplied H 85 LTD 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 fix the shock mount on a stand with a 5/8" thread, remove the tread insert and screw the shock mount directly on the stand. To remove the shock mount from the microphone, rotate the bayonet-type lock at the lower end of the shock mount CCW to the point that the shock mount unlocks. As an introduction to the "secret science of making good recordings", the following sections describe some proven miking techniques. To give the talent better control of their own voice, we recommend adding the talent's track to their headphone monitor signal. 2 Choir/ Backing Vocals 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. Backing vocals/technique 2: If you use a separate microphone for each of several vocalists Simultaneously, set each microphone to hypercardioid to prevent 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. Solo violin: Direct the microphone to the f holes from a height of 6 to 8 feet (1. 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. 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. [. . . ] You can clean all metal surfaces with (industrial grade) methylated spirits or alcohol. Do not use the windscreen before it has dried completely. 1-inch large-diaphragm pressure gradient microphone Polar patterns: omni, wide cardioid, cardioid, hypercardioid , figure eight (selectable) Open-circuit sensitivity: 23 mV/Pa (-33 dBV ± 0. 5 dB) Frequency range: 20 to 20, 000 Hz (see frequency response graphs) Impedance: 200 ohms Recommended load impedance: 2200 ohms Bass cut filter slopes: 12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz Preattenuation pads: -6 dB, -12 dB, -18 dB (selectable) Equivalent noise level to CCIR 468-2: 20 dB (0 dB preattenuation) Equivalent noise level to DIN 45 412 (A-weighted): 6 dB-A (0 dB preattenuation) Signal/noise ratio re 1 Pa (A-weighted): 88 dB Max. [. . . ]