AKG C 214 User manual
BEDIENUNGSANLEITUNG . . . . . . . . . .S. 2
Bitte vor Inbetriebnahme des Gerätes lesen!
USER INSTRUCTIONS . . . . . . . . . . . . . . .p. 16
Please read the manual before using the equipment!
MODE D’EMPLOI . . . . . . . . . . . . . . . . . . . . .p. 30
Veuillez lire cette notice avant d’utiliser le système!
ISTRUZIONI PER L’USO . . . . . . . . . . . . .p. 44
Prima di utilizzare l’apparecchio, leggere il manuale!
MODO DE EMPLEO . . . . . . . . . . . . . . . . . . .p. 58
¡Sirvase leer el manual antes de utilizar el equipo!
INSTRUÇÕES DE USO . . . . . . . . . . . . . . .S. 72
Favor leia este manual antes de usar o equipamento!
C214
Table of Contents
Page
Safety ..................................................................................................................17
1 Description..........................................................................................................17
1.0 Introduction ................................................................................................17
1.1 Packing List ................................................................................................17
1.2 Optional Accessories ...................................................................................17
1.3 Brief Description..........................................................................................17
1.4 Controls......................................................................................................18
2 Powering.............................................................................................................19
3 Using the Microphone .........................................................................................20
3.1 Introduction ................................................................................................20
3.2 Bass Cut Filters ...........................................................................................20
3.3 Preattenuation Pads ....................................................................................20
3.4 Stand Mounting...........................................................................................20
3.5 Hints on Microphnone Placement..................................................................20
3.5.1 Lead Vocals........................................................................................21
3.5.2 Choir/Backing Vocals ..........................................................................22
3.5.3 Violin, Viola.........................................................................................22
3.5.4 Double Bass, Cello..............................................................................23
3.5.5 Acoustic Guitar...................................................................................23
3.5.6 Flute..................................................................................................24
3.5.7 Clarinet..............................................................................................24
3.5.8 Tenor/Soprano Saxophone...................................................................24
3.5.9 Trumpet/Trombone .............................................................................25
3.5.10 Grand and Upright Pianos..................................................................25
3.5.11 Electric Guitar/Bass ..........................................................................26
3.5.12 Drums .............................................................................................26
4 Cleaning ..............................................................................................................27
4.1 Microphone ................................................................................................27
4.2 Windscreen ................................................................................................27
5 Specifications .....................................................................................................28
16 C 214
Safety
1.0 Introduction
1.1 Packing List
1.2 Optional Accessories
1.3 Brief
Description
• Please make sure that the piece of equipment your microphone will be
connected to fulfills the safety regulations in force in your country and
is fitted with a ground lead.
Thank you for purchasing an AKG product. This Manual contains important in-
structions for setting up and operating your equipment. Please take a few minutes
to read the instructions below carefully before operating the equipment.
Please keep the Manual for future reference. Have fun and impress your audience!
•C 214 microphone
•H 85 shock mount
•W 214 foam windscreen
•High quality carrying case for microphone and standard accessories
• Check that the packaging contains all of the components listed above. Should
anything be missing, please contact your AKG dealer.
• For optional accessories, refer to the current AKG catalog or folder, or visit
www.akg.com. Your dealer will be glad to help.
This large-diaphragm condenser microphone has been designed on the basis of
feedback from sound engineers who have used the C 12, C 12 A, C 414 EB,
C 414 B-ULS, C 414 B-TL II, and C 414 XL II microphones in recording studios
around the world for years. Using hand-selected state-of-the-art, reliable compo-
nents as well as advanced manufacturing processes, the C 214 meets the high-
est professional standards and will withstand severe handling in the recording
studio for many years.
The electronic circuitry of the microphone has been redesigned to achieve maxi-
mum dynamic range and a flat frequency response. Low self-noise and high head-
room add up to a dynamic range of 143 dB (A-weighted).
The transducer element uses advanced backplate technology and a diaphragm
that is gold-sputtered on one side only to prevent local shorting to the back elec-
trode even at extremely high sound pressure levels.
The all-metal body ensures efficient rejection of RF interference so you can use
the microphone near transmitter stations, along with wireless microphones or
other communications equipment.
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17C 214
1 Description
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1 Description
1.4 Controls
18 C 214
The C 214 provides selector switches for the preattenuation pad and bass cut
filter.
1 Preattenuation Selector
The selector switch on the left-hand side of the microphone (fig. 1) lets you in-
crease the microphone's headroom by 20 dB for distortion-free recordings of very
loud sound sources or close to sound sources. The preattenuation pads prevent
the microphone's output level, particularly at low frequencies, from overloading
the miniature transformers used in mixer input stages, etc.
Fig. 1: Preattenuation selector.
2 Bass Cut Selector
Rumbling or wind noise may cause distortion at very low frequencies. The micro-
phone's switchable bass cut filter (refer to fig. 2) further reduces low-end distor-
tion. The filter slope is more than 6 dB/octave at 160 Hz and below. The bass cut
also minimizes the proximity effect that may arise when close-in miking from less
than 6 inches.
Fig. 2: Bass cut selector.
2 Powering
Important!
The C 214 provides low self-noise (just 13 dB(A)!) yet high headroom. The micro-
phone requires a phantom power source providing 12 to 52 V as per IEC 61938.
• Do not connect the microphone to any power supply other than a phan-
tom power source (input with phantom power or external IEC standard
phantom power supply) with a floating connector, using a balanced cable
with studio grade connectors to IEC 268-12 only. This is the only way to
ensure safe and reliable operation.
19C 214
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3 Using the Microphone
The C 214 features a smooth frequency response similar to the typical sound of
AKG large-diaphragm microphones.
You can use the C 214 for most musical instruments in the studio and on stage
(see also section 3.5). With its cardioid polar pattern, the microphone will give ex-
cellent results in a multiplicity of recording situations, particularly, in close miking.
The selectable bass cut filter will effectively cancel out any unwanted noise such
as fan noise from air conditioning systems or low-frequency noise due to floor vi-
brations, handling noise, etc. without affecting the sound of the recorded voice or
instrument on tape.
The selectable 20-d B preattenuation pad allows you to increase the microphone's
headroom from 136 to 156 dB SPL. Remember to check that the equipment con-
nected to the microphone (microphone preamp, mixer input, recorder input) can
handle the maximum output level of the microphone without causing distortion.
• The supplied H 85 shock mount has a standard 3/8" thread insert so you can
mount the microphone on almost every commercial stand or suspension with
a 3/8" thread.
• To fix the shock mount on a stand with a 5/8" thread, remove the tread insert
and screw the shock mount directly on the stand.
• To remove the shock mount from the microphone, rotate the bayonet-type
lock at the lower end of the shock mount CCW to the point that the shock
mount unlocks.
We recommend the C 214 for the following applications:
20 C 214
3.1 Introduction
3.2 Bass Cut Filter
3.3 Preattenuation Pad
3.4 Stand Mounting
3.5 Hints on
Microphone Placement
Table 1: Recommended
applications.
Sound source Studio Stage
Lead/solo vocals • •
Backing vocals/choir • • • •
Speech • •
Acoustic guitar • • • •
Electric guitar • • • •
Electric bass • •
Double bass • • • •
Violin • • •
Cello • • •
Zither •• •
Grand piano (classical music)
• • • •
3 Using the Microphone
Table 1 (cont’d)
3.5.1 Lead Vocals
Fig. 3: Solo vocalist.
• • First choice
• Good alternative
As an introduction to the "secret science of making good recordings", the follow-
ing sections describe some proven miking techniques.
• Working distance: 6 to 12 in.
(15 to 30 cm)
• Bass cut: ON
• For best results, be sure to
use a pop screen, e.g. the
PF 80 from AKG. If no pop
screen is available, use at
least the supplied W 214
windscreen.
• To give the talent better
control of their own voice,
we recommend adding the
talent's track to their head-
phone monitor signal.
21C 214
Sound source Studio Stage
Piano (rock & jazz) • • • •
Organ • • •
Trumpet • • • •
Trombone • • •
French horn • • • •
Tuba • • •
Saxophone • • • •
Flute • • • •
Clarinet • • • •
Kick drum • • •
Toms • •
Cymbals • • • •
Bongos, congas • • • •
3 Using the Microphone
To mic up a large choir, we recommend using a pair of microphones plus one spot
microphone each for the soprano, alto, tenor, and bass sections.
In rooms with perfect acoustics, using just a pair of high quality microphones is a
proven way to get superb-sounding recordings.
Backing vocals/technique 1: If enough tracks are available, we recommend
overdubbing each voice separately.
Backing vocals/technique 2:
If only one or two tracks are
available for backing vocals,
use one microphone each for
two or three vocalists maxi-
mum. Place the vocalists in a
semicircle in front of the micro-
phone.
Solo violin:
Direct the microphone to the f
holes from a height of 6 to 8 feet
(1.8 to 2.5 m) above the floor.
Large string sections:
Use a combination of a pair of
microphones in an XY, ORTF, or
other stereo configuration and
close-in spot microphones.
Viola:
Direct the microphone to the f
holes from a height of 7 to 10 ft.
(2.2 to 3 m) above the floor.
22 C 214
3.5.2 Choir/
Backing Vocals
Refer to section 3.5.1
Lead Vocals above
Fig. 4: Backing vocalists
sharing a single
microphone.
3.5.3 Violin, Viola
Fig. 5: Violin.
3 Using the Microphone
3.5.4 Double Bass, Cello
Fig. 6: Double bass.
3.5.5 Acoustic Guitar
Fig. 7: Miking an acoustic
guitar with a single C 214.
Double bass:
Align the microphone with one
of the f holes from a distance of
about 16 in. (40 cm). If you
need to record the double bass
together with an ensemble,
place the microphone closer to
the instrument to prevent leak-
age from other instruments into
the microphone.
Cello/technique 1:
Refer to "Double bass" above.
Cello/technique 2:
Use a close-in microphone as
in technique 1 above plus a dis-
tant microphone. Set the level
of the close-in microphone approx. 20 dB lower than the distant mic level.
Refer to fig. 7.
Place the microphone 20 to
40 in. (0.5 to 1 m) away from
the guitar and aim it obliquely
at a point between the sound
hole and neck.
Using two microphones gives
you even better control of the
sound. Point a C 214 at the
sound hole from a distance of
one to two feet (30 to 60 cm).
Place a small-diaphragm mi-
crophone (e.g., a C 451B) 20 to
40 in. (0.5 to 1 m) away from
the guitar and align it with a
point between the sound hole
and neck.
23C 214
3 Using the Microphone
We recommend using two mi-
crophones.
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 mi-
crophone, place the micro-
phone as mic 1 above at a
distance of about 7 to 8 1/2 ft.
(2 to 2.5 m) above the floor.
Point the microphone at the
lowest key. To minimize key
noise, place the microphone a
little ways to the side of the in-
strument.
Aim the microphone at the mid-
dle of the instrument from a
distance of about 2 to 3 1/2 ft.
(50 cm to 1 m).
24 C 214
a
b
3.5.6 Flute
Fig. 8: Miking the flute
with a single microphone.
3.5.7 Clarinet
Fig. 9: Clarinet.
3.7.8 Tenor and Soprano
Saxophones
Fig. 10: Tenor saxophone (a),
soprano saxophone (b).
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