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General| Type | Studio microphone |
|---|---|
| Microphone frequency | 20 - 20000 Hz |
| Microphone direction type | Cardioid |
| Microphone input impedance | 200 Ω |
| XLR out | Yes |
| Device interface | XLR-3 |
| Connectivity technology | Wired |
| Operating voltage | 52 V |
| Power consumption | 4.5 mA |
| Product color | Grey, Silver |
| Signal-to-Noise Ratio (SNR) | 88 dB |
Weight and Dimensions| Depth | 38 mm |
|---|---|
| Width | 50 mm |
| Height | 160 mm |
| Microphone weight | 300 g |
Discusses equipment disposal and recyclable packaging for environmental compliance.
Welcomes the user and advises reading instructions before use.
Lists items included in the microphone package, such as shock mount and pop screen.
Informs users where to find and inquire about additional accessories.
Details the C414 XLS microphone, its design basis, and advanced features.
Explains the operation of pushbuttons for polar pattern, pad, and bass cut filters.
Details the Lock Mode feature to prevent accidental changes to microphone settings.
Illustrates and explains the nine selectable polar patterns and their corresponding LEDs.
Describes the function of the preattenuation pad for increasing headroom and preventing distortion.
Explains the bass cut filter's role in reducing low-end distortion and proximity effect.
Details the peak hold function of LEDs for overload indication and how to address it.
Highlights the C414 XLII as a sonic alternative to the XLS, approximating the AKG C12 sound.
Explains the importance of matched pairs for realistic stereo recordings and their quality.
Introduces the microphone's features, applications, and suitability for instruments.
Explains how the selectable bass cut filters cancel unwanted low-frequency noise.
Describes the preattenuation pads for increasing headroom and managing output levels.
Details how to mount the microphone using the H85 shock mount on various stands.
Recommends specific microphones (XLS/XLII) for various sound sources and applications.
Provides guidance on effective microphone placement techniques for different sound sources.
Offers specific advice for miking lead vocals, including distance, polar pattern, and filters.
Suggests techniques for miking choirs and backing vocals using stereo or spot microphones.
Provides miking instructions for solo violins, violas, and large string sections.
Details miking techniques for double bass and cello, including close-miking and distant options.
Recommends using two microphones for acoustic guitar, with specific placement advice.
Suggests miking techniques for flute, including single and dual microphone setups.
Provides guidance on placing a microphone for a clarinet to minimize key noise.
Offers miking advice for tenor and soprano saxophones, specifying distance and aiming point.
Details miking techniques for trumpet and trombone, including pad usage and wind screen.
Provides miking techniques for grand and upright pianos, covering single and stereo setups.
Explains miking techniques for electric guitar and bass, including DI box usage.
Details overhead, hanging/floor tom, and kick drum miking techniques for drum kits.
Instructs on cleaning the microphone body using a soft, moistened cloth.
Provides instructions for washing the foam windscreen in soap suds and drying it.
