SIDE-BY-SIDE COMPARISON
Hear the NUDE 414 beside established 414s
Carl-Magnus Consitt compares a pair of NUDE 414s with a pair of AKG C414s.
NUDE 414
One microphone. A session’s worth of options.
Five selectable polar patterns, Class A transformer-coupled electronics, pads and filters in one solid, versatile condenser — built for the sources that keep changing from session to session.
NUDE 414
Sale price$516.00 USD
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Tracked + signature
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Tested before dispatch
Every microphone is checked before it leaves South Australia.
THE STUDIO WORKHORSE
Set the pattern. Shape the session.
Some microphones earn their place by doing one thing beautifully. A 414 earns it by being the microphone you reach for before you know exactly what the day will bring.
The NUDE 414 draws its inspiration from the older EB/BULS era: a subtly darker, smoother tonal balance, with detail and presence through the top end rather than exaggerated brightness.
At its heart is a 34 mm dual-diaphragm capsule feeding a Class A discrete, transformer-coupled circuit. Five selectable polar patterns let you decide how much source, spill and room enters the recording. The -10 dB and -20 dB pads make loud sources easy to manage, while 75 Hz and 150 Hz high-pass filters help control rumble, proximity build-up and low-frequency spill before the signal reaches the recorder.
Move from vocals to overheads, acoustic guitar to amplifiers, percussion to grand piano — without changing microphones every time the session changes direction.
One microphone. More good decisions before the sound reaches the DAW.
WE LOVE LISTENING
Headphones On — How It Sounds
No grand claims. Just sessions. Put on headphones and listen for body, detail, the smoother high-frequency balance and how the microphone sits inside a real recording.
MINIMAL DRUM SET-UP
Two NUDE microphones. A complete drum picture.
Andy Scott pairs the NUDE 414 with the Stereo Ribbon on a real studio drum session.
GUITAR IN A REAL ROOM
Classic-inspired condensers, recorded in a kitchen
David Briggs records Dave O’Reilly with the NUDE 414 and FET47 in a practical, unpolished room.
RECORDING APPLICATIONS
Perfect For
One microphone, many applications. Change the pattern, pad or filter; move the microphone; listen again. If it sounds good, it is good.
Drum overheads
High SPL handling, useful pads and a smoother top end for cymbals without losing the kit’s detail.
Hear the drum sessionAcoustic guitar
Body and string detail with enough high-frequency control to keep pick and finger noise in proportion.
Hear a 414 comparisonVocals + voice-over
Warm, natural presence with pattern choice to manage room tone, proximity effect and spill.
Guitar amplifiers
The -10 dB and -20 dB pads make close placement on loud cabinets practical.
Hear it on guitarGrand piano
Five patterns give useful control over instrument width, room contribution and placement.
Percussion
Fast detail, high headroom and switchable filtering for busy low-frequency environments.
Brass + strings
A smoother high-frequency balance for sources that can become hard or brittle.
Room + ensemble
Move toward omni or figure-8 to bring the room into the recording with intent.
THE ENGINEERING, WITHOUT THE HOMEWORK
Four Numbers That Matter
Four controls and dimensions that explain why the NUDE 414 works across so many sources.
Selectable polar patterns
Move from room-embracing omni through directional patterns to figure-8.
Dual-diaphragm capsule
A large, dual-backplate transducer built for multi-pattern recording.
Maximum switchable pad
Use -10 dB or -20 dB attenuation when the source or signal chain needs more headroom.
Highest high-pass setting
Choose 75 Hz or 150 Hz filtering to control rumble, proximity build-up and spill.
GO DEEPER
Specifications & Frequency Response
View the full technical specifications
- Polar patterns
- Five selectable positions, omni through figure-8
- Capsule
- 34 mm dual-backplate, dual-diaphragm capsule; 6 µm German Mylar
- Circuit
- Class A discrete, transformer-coupled output
- Frequency response
- 20 Hz–20 kHz ±3 dB
- Output / load impedance
- 200 Ω at 1 kHz, nominal; transformer-isolated · Rated load >1500 Ω
- Maximum SPL
- >140 dB at 0.5% THD, 1 kHz
- Equivalent noise level
- <14 dBA
- Signal-to-noise ratio
- 80 dB ref. 1 Pa
- Output connector
- Male 3-pin XLR
- Power
- 48 V phantom power
- Pre-attenuation
- 0 / -10 / -20 dB
- High-pass filter
- 0 / 75 / 150 Hz
View the frequency response chart
Published frequency response: 20 Hz–20 kHz ±3 dB.
EVERYTHING IN THE BOX
Ready for the First Session
The NUDE 414 arrives protected and ready to mount. A standard balanced XLR cable and 48 V phantom power are required for use.
NUDE 414 microphone
The five-pattern, transformer-coupled condenser.
Aluminium flight case
Foam-cut protection for storage and transport.
Rectangular suspension mount
A model-specific mount for useful isolation from stand-borne vibration.
FROM NUDE OWNERS
At Home in Project and Professional Studios Worldwide
Perspectives from engineers, producers and owners who put the NUDE 414 to work.
It is the sound I have been searching for. It just hits the vintage ’70s sound for me that I love on the great records of that era.
At times [it] sounded better than the original AKG C414. Incredibly impressive — a microphone of the absolute highest quality.
The NUDE 414 had a more pleasing low end. Overall I liked it better, especially with a gentle nudge to the top end.
The silky top end is so good for taming acoustic string noise without killing any of the sparkle.
This 414 recreation is an elegant workhorse. Today it was the centrepiece of the drum kit.
They’re a big, warm sound. If anyone asks, I’ll say they just sound full of goodness.
GOOD TO KNOW
NUDE 414 FAQs
The practical questions that come up before the first session.
Does the NUDE 414 need phantom power?
Yes. The NUDE 414 requires 48 V phantom power from a microphone preamp, audio interface or console.
What do the five polar patterns change?
They change the area around the microphone that contributes to the recording. Move toward omni when you want more room and a natural low end; use the directional settings when you want more focus or rejection; use figure-8 when you want front-and-back pickup with strong side rejection.
When should I use the -10 dB or -20 dB pad?
Use a pad when a loud source or close placement is overloading the microphone input or downstream preamp. Drums, percussion and loud guitar cabinets are common examples. Start at 0 dB and add attenuation only when the signal path needs it.
When should I use the 75 Hz or 150 Hz high-pass filter?
Use 75 Hz to reduce very low rumble while retaining most of the source’s weight. Use 150 Hz when you need stronger control of proximity build-up, stand noise or low-frequency spill. Leave the filter off when the low end is part of the sound you want.
Is the NUDE 414 based on the current AKG C414 XLII?
No. The NUDE 414 is voiced as an homage to the older EB/BULS lineage rather than as a copy of the brighter modern XLII presentation. Comparisons can be useful, but they should be understood in that context.
Does it work for vocals and voice-over?
Yes. Its smoother high-frequency balance, selectable patterns and switchable filtering make it a practical choice for vocals, spoken word and voice-over, particularly when you want body and natural presence without exaggerated brightness.
READY WHEN YOU ARE
Put One Workhorse at the Centre of Your Mic Locker
Five patterns. Pads and filters. The classic flexibility to move from vocals to overheads to amplifiers without changing microphones.
$516.00
In stock and ready to order
BACKED BY NUDE
- Free worldwide shipping
- Tracked delivery + signature
- Tested before dispatch in South Australia
- Direct support from Australia
