User manual AKG C 414 B-ULS

[. . . ] (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). [. . . ] 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. 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. 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 414 B-ULS except for a slight high-frequency peak above 3 kHz. 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. We recommend the following methods to add phantom power to microphone inputs: Important!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. 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. 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. 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. For a rock/pop sound, place two C 414Bs roughly 8 to 16 inches (20 to 40 cm) above the strings. [. . . ] 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. 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. [. . . ]