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In 2009, the B in the model numbers finally proved to be vestigial, and the bifurcated models became the C414XLII and C414XLS. Of course, AKG added four more polar patterns to make up for losing the Bs, creating a total of nine polar patterns in these microphones, so it was a fair trade. The pad switch now has 6dB, 12dB, and 18dB settings — as with the pattern selection, this works by changing the polarising voltage on the capsule. Because very high impedances are involved around the capsule itself, any changes made using these switches will take a few seconds to become active. The familiar bass-cut switch has also had a face-lift with 40Hz, 80Hz, or 160Hz settings, as well as off. A slope of over 12dB/octave is used for the lower two settings, while the 160Hz setting has a more gentle 6dB/octave characteristic. You can also boost it to 5kHz if you need it. This feature allows you to boost the space and clarity perception and bring out a high presence of your vocal. Flysimware’s tech pilot owns this Cessna 414AW Chancellor with a RAM IV conversion and winglets which allowed Flysimware to have direct access to the real bird. In return this gives you a highly accurate model with extreme attention to detail as Flysimware took hundreds of images, measurements and recorded sounds over a 2 year period.
An examination of the frequency response of the mic shows it to be nominally flat up to 2kHz, above which there is a slight ripple, followed by a presence peak of around 3dB at 7kHz. The response rolls off slowly above 10kHz and below 100Hz and there is very little difference in the response curves between the cardioid and hypercardioid settings. A useful frequency response of 20Hz to 20kHz is quoted in the specifications. Both C414 XLS and XLII are well known for their tremendous sound character and top-notch clarity. Of course, the XLII is even better sounding than the XLS ad that’s why it is more popular among the vocals. Both C414 XLII and XLS come with shimmering frequencies for treble. Housed in a very similar body to the C314, the C 214 is equally as rugged and suitable for live and studio work. A useful aspect to its flat body design and huge max input level of +153dB is that it can sit inconspicuously in front of a sn a re without fear of damage being caused or the signal being clipped or sat directly in front of a guitar cab with the grille almost touching the spe a ker grille on the cabinet.Apart from the capsule itself, the C314 has a more simplified control interface – turning to analogue switches rather than digital switching and LEDs with a condensed range of options . I n regard to the High Pass Filter and the PAD options available. With a simple –20dB pad and a 100Hz HPF, the C 314 has all of the attenuation and filtering that many users will need . span itemprop="author" itemtype="https://schema.org/Person" itemscope>Seattle Sirens from It features a high-quality switching system with LED indicators to alert you which polar pattern is on. Eight aircraft factors influence 414 resale plus many other economic factors. The aircraft factors are: There was a time in aviation history when aircraft manufacturers were falling over themselves to serve a seemingly insatiable demand for executive-level light twin-engined aircraft. Reaching fever pitch in the 1980s, Cessna had positioned itself well for the demand, offering light twins for almost every conceivable subsection of the market.
These aircraft were called the 414 Chancellor. Finally, in 1979 the -NB series TSIO-520 engines were installed, providing an improved crankshaft, and in time, an increased engine TBO of 1600 hours against the -Ns 1400. These aircraft were called the 414A Chancellor.Both versions offer five polar patterns (nine if you include blended options), three pad and low cut filter options that make them applicable on numerous instruments. The 80Hz low-cut, in particular, is handy for rolling off low-end rumble mitigating environmental noise. h2>
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