AKG C414 XLII/ST Matched Pair

Matched Pair of Multi-Pattern Large-diaphragm Condenser Microphones Complete with Accessories and Hard Case
AKG C414 XLII/ST Matched Pair image 1
AKG C414 XLII/ST Matched Pair image 1
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AKG C414 XLII/ST Matched Pair
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A Matched Pair of Ultra-versatile Condenser Mics!

From the leading broadcast facilities world-wide to the recording studios and the performance stages that have hosted the top musical artists of all genres for more than 60 years, the AKG C414 multi-pattern condenser microphone needs little introduction. There are few microphones that are as widely accepted as a de facto part of any professional engineer's mic locker as this famous microphone. Now, you can own a matched pair of C414 XL IIs at an affordable price with the C414 XL II/ST bundle.

The C414 XL II/ST stereo condenser microphone matched pair bundle contains two C414 XL IIs that have been selected from thousands of individual microphones and hand tested to for sensitivity characteristics that lie within 1dB of one another throughout the range of 300Hz to 8kHz in cardioid mode. They come with a full accessory kit that includes a pair of shock mounts, a stereo bar, two foam windscreens, and hardshell carrying case. You also get a copy of your microphones' performance charts to verify their matched performance characteristics.

The C414 XL II (the successor of the famous C414 B-TL II) differs from the C414 XLS by offering a slight presence boost and by providing the spatial reproduction capability of the legendary AKG C 12 microphone. This characteristic response and spatial detailing makes lead vocals and solo instruments stand out, even in a densely packed mix. This signature up-front sound is also excellent for distant miking applications making the C414 XL II ideal for classic music recording or drum ambience miking. And because of its 9-pattern design, leading-edge technology, state-of-the-art components, and reference-quality results, the AKG C414 XL II ushers in a new standard in microphone versatility.

The C414 XL II offers nine pickup patterns which enable you to choose the perfect setting for every application. In addition to the five patterns traditionally offered by the C414 (omnidirectional, wide cardioid, cardioid, hypercardioid, and figure eight), you also get four intermediate settings that let you dial in the best pattern to suite your environment. It also features an astoundingly low noise floor and a 152dB dynamic range, making the C414 XL II ideal for any musical environment. A locking mode allows you to disable all of the C414 XL II's controls for live-sound applications and permanent installations, and a special "Peak Hold" LED displays even shortest overload peaks.

AKG C414 XL II/ST Matched Pair of Multi-pattern Condenser Microphones Features at a Glance:
  • Omni, wide cardioid, cardioid, hypercardioid, figure eight, and four intermediate pickup patterns
  • Lock Mode disables all controls easily for live and installation use
  • Incredible Dynamic Range of 152 dB
  • Three different bass cut filters and three pre-attenuation levels
  • Peak Hold LED even detects shortest overload peaks
  • Paired using AKG's sophisticated computer-aided matching method
  • Highest possible correlation over the whole frequency range and virtually identical sensitivity
  • Includes carrying case, two windscreens, a stereo bar, and two spider-type shock mounts
  • Frequency range: 20 to 20,000 Hz
  • Sensitivity: 20 mV/Pa (-34 dBV) +/-0.5 dB
  • Max. SPL: 200/400/800/1600 Pa = 140/146/152/158 dB (0/-6/-12/-18 dB) for 0.5% THD
  • Equivalent noise level: 6 dB-A (0 dB preattenuation) (IEC 60268-4)
  • Signal/noise ratio: 88 dB
  • Preattenuation pad: 0 dB, -6 dB, -12 dB, -18 dB, switchable
  • Bass cut filter slope: 12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz
  • Impedance: <=200 ohms
  • Recommended load impedance: >= 2,200 ohms
  • Supply voltage: 48 V phantom power to DIN/IEC
  • Powering: approximately 4 mA
  • Connector: 3-pin XLR to IEC
  • Dimensions: 50 x 38 x 160 mm (2.0 x 1.5 x 6.3 in.)
  • Net weight: 300g (10.6oz.)
  • Requires +48V phantom power to DIN/IEC
For versatile stereo miking, get the AKG 414 XL II/ST!

Additional Media

Studio Microphone Buying Guide

Tech Specs

Microphone Type Condenser
Mono/Stereo Stereo Pair
Polar Pattern Omni, Wide Cardioid, Cardioid, Hypercardioid, Figure-8
Diaphragm Size 1" (25.4mm)
Frequency Response 20Hz-20kHz
Max SPL 140dB (158dB w/18dB Pad)
Output Impedance 200 ohms
Signal to Noise Ratio 88dB
Self Noise 6dB
Low Cut Filter 40Hz, 80Hz (-12dB/octave), 160Hz (-6dB/octave)
Pads -6dB, -12dB, -18dB
Color Dark Grey/Gold
Connector XLR
Weight 0.66 lbs. (Per Mic)
Included Accessories Shock Mounts, Windscreens, Stereo Bar, Aluminum Carry Case
Manufacturer Part Number 3059X00240

Customer Reviews

Based on 5 reviews
Write your review

Amazing mic

I've always wanted a 414, and I was building a studio, so I decided to go with the stereo pair. It's awesome being able to use them as drum overheads, record in midside, mic up a piano. For certain things I would rather have maybe another mic, but that's not how I judge these. I judge them by what they are made to do, and that is being an all around swiss army knife mic, and at that they are amazing. If you have to make a choice, this is the safest one. They're so flat that if you don't get a good recording with them, it's not the mic's fault. The high end bump makes them awesome on vocals. Seriously they sound REALLY good on everything. It's not like a kiwi where it will just make this beautiful tone come out. It's more like a brutally honest mirror. If you want a sound out of them, you have to find it with mic placement. Mixing them is always a joy. They're my babies.

A serious pair of large diaphragm condensers!

I got the pair of 414 XLII's to use as drum overheads because of their flexibility of polar patterns. They have a very fast transient response for LDC's that make them an excellent choice for this application. I use one on vocals, as a spaced pair for acoustic guitar, room mics, and any other situation where a specific mic fails. The flexibility of these microphones are truly impressive. Unlike the XLS pair they have a resonance bump above 5kHz, making them brighter and more crisp. They still retain the smoothness a smoothness and body that my other LDC's lack. They take EQ incredibly well, and sits lead vocals and guitars up front in a mix. I got these for a great price through Sweetwater like most of my studio gear, and I'll be using these for months to come. My only complaint? The included AKG shockmounts are not metal, and over a few years I can imagine issues with the threading. But for the next ~5 years it will do just fine.
Music background: Recording Engineer, Musician

Great Mics

Honestly is was hard to justify the cost of these mics. But wow. The are great for every thing. The possibilities seem endless, so the money was worth it.
Music background: Recording, Composing, Production

Versatile and Modern

These things sound great and are exceptionally versatile. The high-end bump lends a presence to the sound of these mics that I find pleasing in many applications. The multi-pattern selectors, HPFs, and pads make these extremely handy in the studio. The multi-pattern stereo pair allows you to execute mid-side, XY, 2-figure 8, and just about every other stereo technique you can imagine. For acoustic guitars the presence bump imparts a very forward, modern sound. In that way these mics are ideal for acoustic heavy singer-songwriters. A twin figure 8 setup allows for wonderfully isolated vocal/gtr performances. I have recorded many sources with these mics and find vocals, acoustic guitars, and drum overheads to be where they really shine. I do mostly rock music and I am not a big fan of these mics on a distorted gtr cabinet . The presence boost often tweaks the ranges around 2-3kHZ in ways I find harsh...though for ambience mics you can do some really creative stuff with all the polar pattern options. Up close to the cab for cleaner signals these mics can pick up some really awesome tones, but for close in, high-gain applications I go back to the 57 or other dynamic workhorse mics. For vocals these mics can add a sheen to most performances. For screamers a/o really breathy singers the presence boost can be a bit much...especially in productions where many vocal overdubs are to be used. It's nothing a little subtractive eq'ing can't help...but I prefer the mic to fit the sound source whenever possible. All in all I think these mics are amazing so long as you choose the them for the right applications. 90% of good sound is a good performance in a good space. Mics, pres, and signal processing is that other 10% and with a pair of these and a pair of regular 414s you'd be hard pressed to find a source that you cannot capture beautifully and in variety of ways.
Music background: Recording Engineer

Very versatile .

Although some folks have a ho hum attitude about these mic's they sound excellent. They are bright but its not shrill, its open sounding. Clear . I had a very experienced horn player tracking in the last few days. His impression was very positive. He enjoyed the character of the pair and thought that the recording ,"sounded like me, not a kazoo". The results speak for themselves. The tracks have depth and detail. Equally impressed by their use on acoustic guitars and strings. Worth the paper.
Music background: Musician ,composer.
See also: Condenser Mics, AKG, AKG Condenser Microphones, AKG Condenser Microphones