AKG C 414 EB Four-pattern Microphone #21398 (Vintage)
HistoryThe AKG 414 Series of microphones continue a long tradition of excellence that starts with the legendary C12 tube mic, with its equally legendary CK 12 capsule able to produce nine polar patterns. The cylindrical C12 morphed into the smaller trapezoid shape of the C12A and C12B when the miniature Nuvistor tube was adopted. It morphed again into the C 412, the first of the FET designs, which had a choice of three polar patterns, and then into the C 414, which had four patterns.
The big change came in 1976 with the C 414 EB. The prior mics used a trapezoid-shaped adapter to provide a stand mount as well as cable output. The EB model was the first to use a built-in xlr output, thus taking on the iconic form that the 414 Series retains to this day. The other major change was the addition of switches for -20 dB pad, and bass rolloff. But the biggest change came during the middle of the production run of the EB model, when AKG discontinued making the elaborate and expensive CK 12 'brass ring' style edge-terminated capsule, and replaced it with a CK 12 that used a teflon ring to hold the membrane in place. With the change to the newer CK 12 capsule, the modern era of the 414 Series began.
From the original brochure:
"Although based in the lineage of famous AKG large diaphragm microphones - C 12, C 12A, C 12B, C412, and C414, and also on the same one-inch gold-sputtered dual-diaphragm capsule -the CK-12- the electronics of the new C 414EB are a completely new departure, and the key to the digital level performance of the microphone. The resulting technical specifications are unique among today's microphones and will remain in the forefront of even tomorrow's microphones. The equivalent noise level of the C 414EB is at the "hushed" level of 18 dB SPL (weighted per DIN 45 405) and 15 dB SPL (A-weighted noise level per DIN 45 634, IEC 179), figures heretofore unchallenged.
The C 414EB Microphone's maximum sound pressure capability equally outranges any other product available. For all polar patterns with zero attenuation and flat response (no rolloffl, the maximum sound pressure level at 1,000 Hz for 0.5% total harmonic distortion from the electronics ... is a resounding 142 dB. With maximum attenuation selected, the figure increases to 162 dB. This results in a working dynamic range of over 124 dB, and a signal-to-noise ratio re: 94 dB SPL per DIN 45 590 of 76 dB (re: 94 dB SPL per IEC 179/Aweighted of 79 dB).
Pre-attenuation is incorporated before the FET impedance converter stage to permit the increase of undistorted maximum sound pressure level by 10 or 20 dB for close-up recordings. This technique inhibits distortion in the transformers and circuitry used in the microphone's output and mixer inputs. A recessed switch on the front enables the user to select anyone of four different polar patterns to adjust for different recording situations.
Four different types of microphones are thus combined in only one C 414 EB. All polar patterns are virtually frequency independent to guarantee the same sound character for all angles of incidence.
The switchable bass-cut circuitry will reduce the risk of distortion at low frequencies. This feature is especially useful to combat wind noise and stage floor vibrations. The slope of the bass-cut filter is more than 12 dB/octave, the cut-off may be set to 75 Hz, 150 Hz, or may be bypassed (flat) ."
- Large, one-inch dual-diaphragm system
- Four different polar patterns selectable on the microphone
- Pre-attenuation (0, -10, -20 dB) and bass attenuation selectable on the microphone (0/75 Hz/150 Hz)
- Exceptionally wide dynamic range
- Low self noise
|Condition||Used / Vintage|
|Capsule Type||CK12 Teflon|
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