User manual AKG C 214

[. . . ] This large-diaphragm condenser microphone has been designed on the basis of feedback from sound engineers who have used the C 12, C 12 A, C 414 EB, C 414 B-ULS, C 414 B-TL II, and C 414 XL II microphones in recording studios around the world for years. Using hand-selected state-of-the-art, reliable components as well as advanced manufacturing processes, the C 214 meets the highest professional standards and will withstand severe handling in the recording studio for many years. The transducer element uses advanced backplate technology and a diaphragm that is gold-sputtered on one side only to prevent local shorting to the back electrode even at extremely high sound pressure levels. The all-metal body ensures efficient rejection of RF interference so you can use the microphone near transmitter stations, along with wireless microphones or other communications equipment. [. . . ] 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. Sound source Piano (rock & jazz) Organ Trumpet Trombone French horn Tuba Saxophone Flute Clarinet Kick drum Toms Cymbals Bongos, congas · Good alternative As an introduction to the "secret science of making good recordings", the following sections describe some proven miking techniques. If no pop screen is available, use at least the supplied W 214 windscreen. 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 mic up a large choir, we recommend using a pair of microphones plus one spot microphone each for the soprano, alto, tenor, and bass sections. In rooms with perfect acoustics, using just a pair of high quality microphones is a proven way to get superb-sounding recordings. Backing vocals/technique 1: If enough tracks are available, we recommend overdubbing each voice separately. Backing vocals/technique 2: If only one or two tracks are available for backing vocals, use one microphone each for two or three vocalists maximum. 3 Violin, Viola 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 pair of microphones in an XY, ORTF, or other stereo configuration and close-in spot microphones. Double bass: Align the microphone with one of the f holes from a distance of about 16 in. If you need to record the double bass together with an ensemble, place the microphone closer to the instrument to prevent leakage from other instruments into the microphone. 5 to 1 m) away from the guitar and aim it obliquely at a point between the sound hole and neck. Point a C 214 at the sound hole from a distance of one to two feet (30 to 60 cm). 5 to 1 m) away from the guitar and align it with a point between the sound hole and neck. 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 ft. To minimize key noise, place the microphone a little ways to the side of the instrument. 8 Tenor and Soprano Saxophones a Aim the microphone at the middle of the instrument from a distance of about 2 to 3 1/2 ft. [. . . ] For a dry, "click" type sound with lots of attack, position the microphone near the head, at an angle of 45 degrees. For a fatter sound, place the microphone closer to the front head or outside the shell, up to 6 in. Use a soft cloth moistened with water to clean the surface of the microphone body . Type: Polar patterns: Open-circuit sensitivity: Frequency range: Impedance: Recommended load impedance: Bass cut filter slope: Preattenuation pad: Equivalent noise level to IEC 60268-4 (A-weighted): Signal/noise ratio re 1 Pa (A-weighted): Max. [. . . ]