AKG C414 XLS Large-diaphragm Condenser Microphone Reviews

I love this mic. It's the best mic in my locker easily and hands down. I should've bought this mic YEARS ago!!! I tried it at a store and was like "whoa". Then I purchased it. And fell in love. I was using mic emulation plugins to find that smooth texture to my vocals with my previous mics. Now I do need the 3 mic emulations anymore (Lava by AA is nice). I can get very loud with my singing and this mic handles me like I was Errol Spence Jr and it's Bud Crawford. This mic really is the Truth, baby!!! I tried the XLII and I prefer the XLS. My vocal chain is the Avalon vt737sp into the wa76 into the WA Bus Comp into the Maag EPQ 2 into the Golden Age Project 2a into the Drawmer 1974 into the DBX 286 for noise gating purposes then into the SSL 2+ audio interface

I originally reviewed the AKG 414XLII and called it my favorite vocal mic but after a few songs, mixing and really working with them, this is a really great mic and one of my favorites now. I have a deep gravely voice with some difficult raspiness that does not need to be brought forward so I have different needs vs Arianna Grande or but for me, this is a great mic. I have not tried it yet on electric guitar but if it was good enough for Elliot Randall on Reelin in the Years, I am thinkin I might like it.

I should have bought this mic years ago. It pretty much cured most of my problems recording acoustic guitar and vocals. I have several mics which are all good mics, but there is something really special about this particular mic. Price held me back in the past. I will not make this mistake again. Worth every penny!

My 2nd review on AKG C414s ... just purchased my 4th and I use them primarily on Orchestras. It's a little unconventional, using LDC mics for this purpose, as most Engineers use 1/2-inch DPA, Neumann or Schoeps for this task. But, I like the flexibility and super low noise of the 414s. And, they don't "spit" and glare at you on strings like many other condenser microphones, both cheap and expensive, LDC and SDC.

I've owned Schoeps in the past and I often still use Neumann KM183 (usually with a Jecklin Disc in the far-field) for some venues ... The Schoeps are really nice, but I got out of the business and sold them two decades ago. If you can afford Schoeps and the many capsules to equal some of the pattern selections of the 414, get them. It's true, the LDC mics don't usually have as uniform and ideal polar patterns, but it's "close enough for Folk Music" ... that's the only kind I can play ... So, I don't worry about it, as it sounds nice.

The 414s allow ease of quick experimention. For example, I am using a primary pair, in very close (recording angle about 145 degrees) with the ORTF spacing of 17cm and toe out of +/- 55 degrees, but with the hypo (wide)-cardioid pattern. I've found that this gives a nice open sound and with good localization. If I were back much further, I'd just switch the patterns to "open cardioid" (a Schoeps term) or straight ahead cardioid. My flanks are also set to hypo.

The supplied factory frequency response graphs are a close match for all four, the hypo-cardioid being the flattest and most consistant from mic to mic ... looks like less than 1dB variation, which is outstanding. So, IMHO, if you have several 414s, you can find a pair out of your inventory, for a particular pattern, that are well matched.

Special thanks and a hat tip to Shelby for providing his usual perfect performance in helping me out and assuring prompt shipment and delivery. And, I detect through our ocassional rambling conversations, that he is a great guy as well!

Thanks Sweetwater!

I've had this mic for about 8 months. It took a little while to get good with it. With 9 selectable polar patterns, plus three pads and three roll offs, the versatility of this mic is huge. Of the 414s being made, it is flatter in frequency response than the XLII which makes it more useful and versatile for my purposes. So many mics have that high frequency now now and I already own a couple... Definitely wasn't looking for more of that when I bought this.

What might be less obvious with this mic is the versatility with the polar patterns. Each one changes the proximity effect.... which changes your "sweet spot" or ideal mic distance. If this mic is sounding "muddy" you might need to engage a roll off... move it back, or switch to a less aggressive polar pattern. The versatility is huge. It can have a lot of bass and a lot of reach (doesn't have to be close mic to sound good) whereas some other condensers roll of the bottom more aggressively naturally. This can be a good thing if you know how to manage it.

It's not always my favorite but it is always a viable option on any source.

I have a 214, I have a pair of WA 14s. They are great mics, but I wondered about the original. I have recorded on a C12A before and it was amazing. The XLS has that same silky quality about it that the C12A had. I'm glad I wondered. This is a fantastic mic, and worthy of the vaunted reputation. I still love the other mics, but when I record the band, I think I'm keeping this one for myself!

I am new to home studio recording (sax) and purchased this as an upgrade to my wireless AMT bell-clip mic. The AMT is the best bell-clip mic I have heard for sax and thus I love it for the stage. But in the studio, it lacks some versatility and has elements that require significant EQ in the studio-recording environment. While I still use it for some recording, the AKG adds not only a flatter frequency response, but also the adjustable polar patters, high-pass filters, and pads. I am still learning what I can do with mic placement, on-mic adjustments, and pre-amp adjustments but this is a great add to the home studio. While it would be cool to get a several $K tube-condenser, the AKG will suit my needs for some time to come.

Versatile mic workhorse in my home studio

I don't do studio work ... I am one of the lucky comparatively few (IMHO) on this planet that have a steady diet of "legit" music, usually in concert. I have several semi-pro and mostly full-pro ensembles in my area, including the "flagship" orchestra found here in my state.

One technique that I use, for the "main array" is a single pair of AKG-414XLS, omni-directional pattern, about 67 cm apart, splayed outward about 15-25 degrees and at a height of 9-12 feet. I got the 67 cm spacing idea from Tony Faulkner as having "special properties" ... the math or the imaging software may not work out, but there are many more parameters that is not taken in consideration in such analysis ... The proof is in the pudding.

The collapsing polar pattern on the 414 at higher frequencies is not much worse (or maybe better than some) 1/2-inch capsules (SDM). AND, the 414's polars are symmetrical, that is, it's the same on both sides of the microphone. SDM body blocks the high frequencies, almost entirely, but the dual-diaphragm "side address" microphone captures more ambient HF sounds at 180 degrees or off the back of the microphone. In any case, I think that makes an important difference ... no one talks about this.

While you really ideally need a first-order microphone (like a KM-183) for distant or far-field use, because the pattern is more consistent, I've not found the pattern bloom effect to be a deal breaker on the 414.

As a bonus, the 414 has a little zip at the very top, which helps provide the EQ needed to capture a full symphony orchestra in a nice hall that has a good balance of dry and wet. And one more thing, the low noise of 6dBA is very important for legit music because the dynamic range is outrageous!

I've had this mic (a pair) for over a year now and have used it on vocals, tenor trombone and my grand piano. The mic does an outstanding job on all. I am very pleased with it. Recorded vocals come out crystal clear. You can hear every nuance. Worth every penny.

First, I"ve used many variations of the 414 from the old school EB to the newer XLII. The XLS is probably my favorite 414 aside from the original EB vintage 414. This mic somehow has a modern vibe with clarity and definition, while still offering a vintage characteristic similar to the EB. It"s warm, but defined, it"s natural and full. The XLS is a very honest microphone - for some people this could be a negative because this mic doesn"t hide any faults, but when you know how and when to use it, this mic stacks up with some of the best out there.

In my experience, while this mic is fairly flat and natural, it takes on EQ and compression really well. That"s the true secret of this mic. Since it"s flat and natural, and there are plenty of polar patterns to choose from, you can sculpt the microphone into many sounds. Pair it with a complementary preamp and I"d be surprised if you can"t get a good sound.

There's only one small issue with this mic....... If you buy one, you will want all of them. A must have epitomical piece of true fabulous wonder. Call sales engineer Tim Burgess. He can fill you in on this mic for forever.

Small home basement studio. Trying the microphone for the first time, I heard some strange background noise. It was the dehumidifier three rooms and two closed doors away. The sensitivity is incredible. Clearly, I need better isolation; I am thrilled to need it. The fidelity of the C414 is a thing of beauty. I am more than glad I added this microphone to my collection.

With this mic l can record all good, lm loved , is the best!!!

Compared this to my brothers Neumann tlm 103 it doesn't have the same boost in the high end but it seemed very accurate and it didn't feel like there was anything missing from that range. Flipping through the different patterns there is quite a spread of different tones you can get out of the mic. I can tell this will be a mic that I hold on to for a long time.

I first was introduced to C414 in the early 80's, doing a VO for a commercial. I was amazed. I could finally afford one in the early 90's, and was just as amazed when I put it to work in my studio. C414 has evolved since those days. And, not always for the best. Ask a long time engineer about the 'dark' 414. But, the C414XLS of tthis new generation not only does justice to the legend of the 414, but it adds another layer of exceptionalism. First, the frequency response and noise floor are outrageous. Nearly DC to Daylight, with 6db noise floor? You could record crickets walking on cotton and hear the knees squeak. Three position rolloff is handy for a multitude of voices. And the 9 position pattern selector makes it easy to apply just the right amount of rejection. If you want to pay stupid money for a mic, you can. But, you don't have to. This is German craftsmanship, too. And, as an all purpose mic that aquits itself like a champ in every application, for a price well within reach, you could only go wrong if that cricket were singing 'Kung Fu Fighting.' This definitely needs to be in your mic locker. Everyone should have at least one.

I got this mic a little over 6 months ago. I already owned a C214 and a C414B-XLII. My first run through it was kinda blah.
2nd session in I started working through the polar patterns and WOW! Out of all my mics - this mic is flat but has life and makes those beautiful radio sounding vox if you spend the time on your tracks!
I tend to go for this mic when wanting to produce a very upfront clear - defined vocal line.
The extra - intermediate polar patterns make a world of difference.
Im very tempted to buy the current XLII version of it and see if these extra polar patterns make the difference on that mic as well!

Have purchased four total. Great for micing up my choir.

Ive used this mic for years. I love it. The issue im having now is 2 of the pcb boards failed meaning I was not able to change the patterns.
Ive now received my 4th delay on pcb board replacement taking the delays up to 8 months. No guarantee of that being met.
Mic has been replaced and unlikely to be repaired. What a shame.