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AKG C414 XLS Large-diaphragm Condenser Microphone

Large-diaphragm Condenser Microphone with Nine Switchable Polar Patterns
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AKG C414 XLS Large-diaphragm Condenser Microphone
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Discover the Power of a Reinvented Classic Condenser!

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 large Diaphragm Condenser Microphone needs little introduction. There are few microphones that are as widely considered a de facto part of any professional engineer's mic locker as this famous microphone. Part of what has maintained the C414 as an industry standard has been its impressive versatility, and AKG has pushed the envelope again with the addition of the C414 XLS to this famous line.

Legendary quality

The C414 XLS is an astonishing microphone. Engineered for highest linearity and neutral sound, it maintains the reliable sonic character of the legendary C414 B-ULS (the longest-lived C414 model) while introducing some astonishing new features. The 5-pattern C414 has been one of the most universal and versatile large diaphragm microphone for decades — widely used for accurate, exquisitely detailed pickup of acoustic instruments. Now, the C414 XLS sets a new benchmark in microphone versatility by introducing a 9-pattern design, while achieving reference-quality results through leading-edge technology and state-of-the-art components.

Flexibility for any situation

The C414 XLS 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 suit your environment. It also features an astoundingly low noise floor and a 152dB dynamic range, making the C414 XLS ideal for any musical environment. A locking mode allows you to disable all of the C414 XLS's controls for live-sound applications and permanent installations, and a special "Peak Hold" LED displays even shortest overload peaks.

AKG C414 XLS Multi-pattern Condenser Microphone Features:

  • 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 detects even shortest overload peaks
  • Includes carrying case, pop filter, windscreen, and spider-type shock mount
  • 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
  • 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

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Tech Specs

  • Microphone Type: Condenser
  • 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
  • Sensitivity: 23 mV/Pa
  • Signal to Noise Ratio: 88dB (A weighted)
  • Self Noise: 6dB (A weighted)
  • Low Cut Filter: 40Hz, 80Hz (-12dB/octave), 160Hz (-6dB/octave)
  • Pads: -6dB, -12dB, -18dB
  • Connector: XLR
  • Color: Dark Grey/Silver
  • Dimensions: 6.29" x 1.96"
  • Weight: 0.66 lbs.
  • Included Accessories: Stand Mount, Shock Mount, Pop Screen, Windscreen, Carry Case
  • Manufacturer Part Number: 3059X00050

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Customer Reviews

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Rated 5/5

Long Time Coming

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
Music background: Singer, songwriter, producer
Rated 5/5

Now my favorite AKG

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.
Rated 5/5

AKG 414 studio mic

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!
Music background: Guitar, bass, drums and piano. Thirty years a road musician.
Rated 5/5

My 4th 414 ...

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!
Music background: Woodwinds
Rated 5/5

World's Most Versatile Mic

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.

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What Do Our In-house Gear Experts Think?

Ashton Vaudt

The AKG C414XLS has been a saving grace in my studio. The best way I can describe it is that once I started using it, so many sources instantly sat better in my mixes. I can put it in front of vocals, guitars of all kinds, drums, percussion, strings... no problem! The C414XLS can handle it all!
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