This is one great sounding vintage AKG C414EB large diaphragm condenser microphone with CK12 capsule serial number 4845

in great physical and working condition.

This microphone was manufactured in the early 1980s

From the original brochure:

"Although based in the lineage of famous AKG large diaphragm microphones - C 12, C 12A, C 12B, C412, and C414, and also on the same one-inch gold-sputtered dual-diaphragm capsule -the CK-12- the electronics of the new C 414EB are a completely new departure, and the key to the digital level performance of the microphone. The resulting technical specifications are unique among today's microphones and will remain in the forefront of even tomorrow's microphones. The equivalent noise level of the C 414EB is at the "hushed" level of 18 dB SPL (weighted per DIN 45 405) and 15 dB SPL (A-weighted noise level per DIN 45 634, IEC 179), figures heretofore unchallenged.

The C 414EB Microphone's maximum sound pressure capability equally outranges any other product available. For all polar patterns with zero attenuation and flat response (no rolloffl, the maximum sound pressure level at 1,000 Hz for 0.5% total harmonic distortion from the electronics ... is a resounding 142 dB. With maximum attenuation selected, the figure increases to 162 dB. This results in a working dynamic range of over 124 dB, and a signal-to-noise ratio re: 94 dB SPL per DIN 45 590 of 76 dB (re: 94 dB SPL per IEC 179/Aweighted of 79 dB).

Pre-attenuation is incorporated before the FET impedance converter stage to permit the increase of undistorted maximum sound pressure level by 10 or 20 dB for close-up recordings. This technique inhibits distortion in the transformers and circuitry used in the microphone's output and mixer inputs. A recessed switch on the front enables the user to select anyone of four different polar patterns to adjust for different recording situations.

Four different types of microphones are thus combined in only one C 414 EB. All polar patterns are virtually frequency independent to guarantee the same sound character for all angles of incidence.

The switchable bass-cut circuitry will reduce the risk of distortion at low frequencies. This feature is especially useful to combat wind noise and stage floor vibrations. The slope of the bass-cut filter is more than 12 dB/octave, the cut-off may be set to 75 Hz, 150 Hz, or may be bypassed (flat) ."

Features:
Large, one-inch dual-diaphragm system

Four different polar patterns selectable on the microphone

Pre-attenuation (0, -10, -20 dB) and bass attenuation selectable on the microphone (0/75 Hz/150 Hz)

Exceptionally wide dynamic range

Low self noise