The C414 XLS is on more hire lists than almost any other studio condenser, and the reason is not the frequency response. It is that the mic has somewhere to go when the source is louder or closer than the plan assumed — three pads and a switchable filter, on the mic, in seconds.
What is on it
- Frequency range 20 – 20,000 Hz
- Dynamic range 140 dB(SPL) max
- 3-way switchable bass cut filter (0 / 40 / 80 / 160 Hz)
- Three pre-attenuation pads (0 / −6 / −12 / −18 dB)
- Lock mode to save the settings, peak-hold display and status LEDs
- Transformerless XLR output (FET)
Lock mode is the touring feature
A mic that can be reconfigured in seconds can also be reconfigured by accident. Lock mode saves the settings so a stage hand brushing past does not undo a soundcheck, which matters more on a run of shows than it does in a studio.
The shockmount comes with it
Every C414 XLS on our shelf goes out with an AKG H85 universal shockmount — it is attached to the product, so it is on the order automatically rather than being something to remember. What is not automatic is the stand: booms and stereo bars are the things most often hired alongside, so say what the mic is going on.
What to tell us
- What you are recording or reinforcing, and roughly how loud.
- How many, and whether any of them are a matched stereo pair on a bar.
- Stands — tall boom, short boom, or your own.
- Cable lengths from the mic position to the desk or interface.
- Whether phantom power is coming from a desk, a preamp or an interface.
We hold five, each with its shockmount. We can supply them on their own or with stands, bars and cabling made up to your positions.
