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AKG Factory-Matched Microphones
AKG know that realistic stereo recordings require microphones with outstanding performance and excellent quality. It also requires consistency and accurate localization from the microphones, therefore every factory-matched pair of C414-XLS’ come from thousands of individual microphones that are then selected by AKG's sophisticated computer-aided matching method. This results in the highest possible correlation over the whole frequency range and virtually identical sensitivity - providing you with incredible, stunning, three-dimensional recordings.
A Studio Mainstay Since 1971
Between 1971 and today studios have changed a lot. Recording engineers from that time would hardly recognise most of the technology we use today. One thing they would recognise? The AKG C414. Throughout the 80s and 90s computers and DAWs replaced tape recorders, CDs and MP3 files replaced vinyl and cassettes. Through a technological and musical revolution the AKG C414 microphone proved to be irreplaceable.
A Whole Studio in One Mic
A well equipped studio will have a variety of microphones with different polar patterns. Each polar pattern has ideal uses and can help to capture a variety of sources in the best way. So why are some microphones limited to one?
The AKG C414 lets you choose from five standard polar patterns - omnidirectional, wide cardioid, cardioid, hypercardioid, and figure of eight. You can even blend between each pair, for an additional four hybrid patterns, giving an impressive nine in total.
With nine polar patterns the C414 is not only equipped to take on any modern studio application, but can also be used for a variety of stereo techniques. You can record stereo audio on a film location with a mid-side set or blumlein pair in the morning and then take your C414 to the studio and capture a vocal session in the afternoon. Do it all with one microphone.
Intuitive, Reliable Use and Easy Monitoring
Changing and monitoring the settings on the AKG C414 is simple and intuitive. All you need to do is press one side of the switch and the LEDs will show you what polar pattern, pad level, or filter frequency is currently being used.
For live or installation situations all the switches can be disabled, keeping your settings the same even if the microphone is accidentally bumped. The included pad lets you record even loud sound sources up to 158 dB SPL - don't let loud drummers cause you problems anymore!
- Computer-matched stereo pair of large-diaphragm condenser microphones
- Ideal for stereo recording applications
- Engineered for highest linearity and neutral sound
- Nine selectable polar patterns
- Three attenuation levels (-6,-12,-18dB)
- Three different switchable bass-cut filters
- Overload warning with audio peak hold LED
- Ideal for live & studio applications
- Audio Frequency Bandwidth: 20 to 20000 Hz
- Sensitivity: 23 mV/Pa
- Equivalent Noise Level: 6 dB-A
- Signal to Noise: 88 dB-A
- Preattunation Pad: -6; -12; -18 dB
- Bass Cut Filter: 160; 80; 40 Hz
- Electrical Impedance: 200 Ohms
- Recommended Load Impedance: 2200 Ohms
- Polar Pattern: omnidirectional; wide cardioid; cardioid; hypercardioid; figure eight
- Voltage: 44 to 52 V
- Current: 4.5 mA
- Type: Balanced XLR
- Gender: Male
- Contacts: 3-pin
- Length: 38 mm
- Width: 50 mm
- Height: 160 mm
- Net Weight: 300 g
- H85 Universal Shockmount
- W414 Windscreen
- PF80 Pop Filter
- Metal Carrying Case