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The AKG C 414 B-TL II is the transformerless version of the classic B-ULS, which is THE reference microphone for almost all comparative microphone tests, and one of the most-used condenser microphones in the world. It is the microphone of choice for miking up vocals, grand pianos, percussion, and any other sound sources with complex waveforms.
Four selectable polar patterns allow the microphone to be used for every recording technique and two bass cut filters suppress low-frequency noise. Extremely low self noise and high headroom result in a dynamic range of 126 dB, which is wider than that of digital recording equipment.
Switchable 10-dB and 20-dB preattenuation pads let you record instruments with sound pressure levels beyond 150 dB SPL at less than 0.5% THD.
The C 414 B-TL II was introduced in 1993. It was designed to meet customer demands for a microphone with more "presence" to its sound than the B-ULS, so its capsule was developed with the sonic signature of the original capsules used from the 1950s to the 1970s. With this mic, AKG combined the best of classic and modern technologies: the legendary C12 transducer capsule and advanced transformerless FET circuitry. Although it looks almost the same as the C414 B-ULS, the TL II differs in two respects:
First, the transducer provides a similar sound as the popular C12. Its frequency response above 4 kHz is the same as that of the classic C12 with a slight high-frequency boost. Below 4 kHz, however, the C414 B-TL II has an absolutely flat response. The second difference is that the C414 B-TL II has a transformerless output stage for accurate reproduction down to the lowest frequencies.
This version of the C 414 is the preferred tool for miking up vocals and distant miking, e.g., of classical music. The enhanced presence of the C 414 B-TL II means that solo voices and instruments can be placed in a dense mix while still retaining their original character. Its also useful in distant-miking vocal or instrument applications where some of the sonic timbre is lost as high frequencies propagate in air.
Four selectable polar patterns allow the microphone to be used for every recording technique and two bass cut filters suppress low-frequency noise. Extremely low self noise and high headroom result in a dynamic range of 126 dB, which is wider than that of digital recording equipment.
Switchable 10-dB and 20-dB preattenuation pads let you record instruments with sound pressure levels beyond 150 dB SPL at less than 0.5% THD.
The C 414 B-TL II was introduced in 1993. It was designed to meet customer demands for a microphone with more "presence" to its sound than the B-ULS, so its capsule was developed with the sonic signature of the original capsules used from the 1950s to the 1970s. With this mic, AKG combined the best of classic and modern technologies: the legendary C12 transducer capsule and advanced transformerless FET circuitry. Although it looks almost the same as the C414 B-ULS, the TL II differs in two respects:
First, the transducer provides a similar sound as the popular C12. Its frequency response above 4 kHz is the same as that of the classic C12 with a slight high-frequency boost. Below 4 kHz, however, the C414 B-TL II has an absolutely flat response. The second difference is that the C414 B-TL II has a transformerless output stage for accurate reproduction down to the lowest frequencies.
This version of the C 414 is the preferred tool for miking up vocals and distant miking, e.g., of classical music. The enhanced presence of the C 414 B-TL II means that solo voices and instruments can be placed in a dense mix while still retaining their original character. Its also useful in distant-miking vocal or instrument applications where some of the sonic timbre is lost as high frequencies propagate in air.
Specifications
| Capsule Type | |
|---|---|
| Transducer Type | Condenser |