condenser microphone, acoustic guitars, grand pianos, cymbals, percussion, orchestras
General Description
The e 914 is a high-grade condenser microphone for very demanding applications. Its outstanding sound properties qualify it for highly sophisticated applications such as acoustic guitars, cymbals, percussion, overhead, orchestras and grand pianos.
Awards
"Tec Award", October 2005 |
Features
- Exceptionally lively, clear sound
- Three-position sensitivity switch
- Three-position bass roll-off/cut-off switch
- Very high sound pressure handling capability
- Exchangeable capsule
Delivery Includes
- e 914 microphone
- Microphone clamp
- Windscreen
- Pouch
- User manual
condenser microphone, acoustic guitars, grand pianos, cymbals, percussion, orchestras
Technical Data
| Attenuation |
0, -10, -20 dB |
| Dimensions |
0.9 x 6.2 in. (24 x 157 mm) |
| Equivalent noise level |
19 dB(A) |
| Frequency response |
20 - 20,000 Hz |
| Max. Sound pressure level (active) |
137, 147, 157 dB |
| Min. terminating impedance |
1,000 Ω |
| Nominal impedance |
100 Ω |
| Phantom powering |
48 V/2.2 mA |
| Pick-up pattern |
Cardioid |
| Sensitivity in free field, no load (1kHz) |
7 mV/Pa |
| Weight |
7 oz. (198 g.) |
condenser microphone, acoustic guitars, grand pianos, cymbals, percussion, orchestras
Recommended Accessories
| Part/Accessory |
Article No. |
| MZQ 100 |
002155 |
resilient quick release stand adapter for 19-23mm (~3/4"- 7/8") diameter microphones and E609
|
condenser microphone, acoustic guitars, grand pianos, cymbals, percussion, orchestras
Variants
Glossary
| Attenuation |
| A reduction in volume. Opposite of "amplification". |
| Equivalent noise level |
| The output signal of every microphone always includes a low noise signal in addition to the useful signal. In order to illustrate the extent of the noise voltage, it is given as a fictitious sound pressure level. In an ideally noise-free microphone, a sound pressure level of this magnitude would result in an output voltage of the magnitude of the noise. Self-noise is measured and weighted either in accordance with CCIR 468-3 or – in order to assimilate the measured result with the listening impression of the human ear – in accordance with DIN/IEC 651 (so-called A-weighted). Studio condenser microphones generally have an equivalent noise level of between 20 and 30 dB (CCIR) or between 10 and 20 dB(A). |
| Frequency response |
| The frequency response of a microphone is given within the limits defined by the manufacturer. In studio condenser microphones it is generally within the range of between 20 Hz and 20 kHz. |
| Min. terminating impedance |
| Impedance at which the connected unit meets the specified technical data. If the unit is connected to a lower impedance, it will usually have a lower output voltage or a greater distortion. |
| Nominal impedance |
| See impedance. |
| Phantom powering |
| Almost all studio microphones are supplied with 48V ±4V phantom power (P48, IEC 268-15). This supply voltage is applied to both modulation lines, while the return current flows via the cable screen. Some microphones can also be powered by batteries or from plug-in mains adapters. |
| Pick-up pattern |
| Also known as polar pattern, directivity. According to their acoustic design, microphones differ in their sensitivity towards sound from different directions. Pressure microphones have a sensitivity that is largely independent of direction (omni-directional pick-up pattern). Pressure gradient microphones have the pick-up patterns wide cardioid, cardioid, super-cardioid or figure-of-eight. Interference microphones can be used to achieve a further concentration of the pick-up pattern (lobar pick-up pattern). As a special case, dummy head microphones achieve the pick-up pattern of the human ear/head (dummy head stereo). |
| Sensitivity in free field, no load (1kHz) |
| Voltage measured at the unloaded output of a microphone which is exposed to a sound pressure of 1 Pa and a frequency of 1 kHz in an anechoic chamber. |
