The Definitive AKG C414 XLS Review
Stunning detail and warmth with incredible versatility
Reviewed by: Daren Banarsë
Latest update: September 2024
Current price: Around $900
AKG C414 XLS Review
| Pros: | Cons: |
| Stunning sound quality Nine polar patterns Excellent build quality Multiple sensitivity and low-end roll off switches | Plastic shock-mount |
AKG C414 XLS Review
The AKG C414 XLS is an industry standard large diaphragm condenser mic, renowned for its neutral sound and outstanding flexibility. Most professional recording studios have at least one pair of C414 XLSs, for their ability to capture quality sound from a huge range of sources.
What is it?
The AKG C414 XLS is a high-end studio condenser microphone with a large diaphragm. It’s an update to the original C414 design, keeping the warm and slightly more neutral tone, when compared to the brighter variation model, the C414 XLII.
Made in Hungary, the C414 is remarkably compact for such a full featured large diaphragm condenser, and takes pride of place in most high-profile studios throughout the world. The AKG C414 XLS is used for such a large range of instruments, they would be too long to list here. It’s flat response creates a classy and detailed neutral sound for guitars, stringed instruments, drums and much more.
The C414 XLS has a great deal of flexibility in its customisation switches:
- 9 selectable polar patterns (including intermediate polar patterns)
- Three Sensitivity reduction options
- Three low end roll off capabilities
In the box
Apart from the microphone, the AKG C414 XLS comes with a:
- Metal flight case
- plastic shock mount
- AKG pop filter
- foam windshield
- manual and charts
The rugged and stylish case has a storage compartment for the pop filter and manual, but by removing some of the foam, there’s enough room to house a few other accessories if you need to.
Dynamic vs condenser microphones
There’s two main types of microphones – condensers and dynamics, with the AKG C414 XLS being a classic large diaphragm condenser mic.
But what are the differences between condenser and dynamic microphones, and is a condenser mic the right choice for you?
Dynamic microphones
Dynamic mics, such as the Shure SM58 are extremely durable, and can withstand a certain amount of rough and tumble. The robust mechanism means they’re also less sensitive to distortion from high sound levels.
However, the weight of the coil limits how responsive the mic can be, and it tends to struggle to replicate high frequencies and dynamic detail.
Dynamic mics are particularly suited to live and stage use. They’re ‘passive’ meaning they don’t require any power.
Condenser microphones
On the other hand, condenser mics don’t have all the sonic limitations of dynamics, and can deliver a lot of detail and clarity. They tend to be used for studio recording due to their ability to reproduce sound so accurately.
Condensers offer a higher output level than dynamic mics, but they’re a lot more sensitive to loud noises, handling noise, and tend to be more fragile. Theyre ‘active’ meaning they need a supply of ‘phantom power’.
The AKG C414 XLS Polar patterns
The AKG C414 XLS has nine selectable polar patterns, consisting of 5 main patterns and 4 ‘in-between’ settings. It’s a side address mic, meaning the front of the mic is the side with the AKG logo on it. The 5 main patters are:
- Omnidirectional
- Wide Cardioid
- Cardioid
- Hyper-cardioid
- Bi-directional (aka figure of eight)
You can toggle between the settings with the rocker switch, and a green light illuminates which setting you’re on. These LED indicators are new for this latest edition of C414, and has its pros and cons.
For the way I use the C414, in a home studio, it’s perfect to be able to see exactly what setting you’re on, and the setting is retained when you turn the mic on and off, meaning you don’t have to keep experimenting with the must suitable pattern.
But in a bigger traditional studio, the previous non-digital switches had an advantage, as you could change them without having phantom power turned on. Picture setting up multiple C414s for an acoustic ensemble in the live room. You’ll have to go back to the control room and turn phantom power on before you can set the polar patterns.
One very handy feature, especially if you’re taking them onto the stage for live use is that the polar patterns can be locked, or released by holding the switch button down for three seconds.
A close look at the different C414 XLS polar patterns
Take a look at these detailed frequency response charts to see how each polar pattern behaves at various frequencies:
Omnidirectional
The omnidirectional pattern picks up sound evenly from all around the microphone, like a sphere. Sound sources normally come from one direction, so think of the omnidirectional pattern as a great way of picking up room ambience as well as the sound itself.
Note that in the higher frequencies, from about 5 kHz, the pick up becomes more and more like a figure of 8 pattern (picks up primarily from both sides of the mic). Bear this in mind if you have 4 singers or instrumentalists gathered around the mic.
In general, using a C414 in omni will give your recordings an open, natural sound as long as you have a nice sounding, or well treated room to work in.
Wide Cardioid
This is a new pattern introduced since the last 414 incarnation – It’s like a cross between the cardioid and omni patterns. You can use the wide cardioid if you want to focus more on the sound source but still hear the sound of the room.
The C414 XLS sounds great in wide cardioid position when recording sounds spread across a wide area, like an acoustic guitar or a piano with the front panels removed. You’ll see from the chart the higher frequencies pick up less of the room and behave more like a standard cardioid.
Cardioid
The cardioid position provides a tighter sound with more directionality and isolation. Select the cardioid position on the C414 for on-stage applications such as miking up guitar cabs, acoustic pianos or drum overheads.
The cardioid position is also popular for recording vocals, but make sure you use the provided pop filter, or you’ll get unwanted plosives.
Hyper cardioid
The hyper cardioid option is for isolating specific sounds on stage with very minimal bleed from other sound sources. Think of situations like using the C414 to focus in on the sound of the crown of a ride cymbal or featuring a soloist from an ensemble.
It’s also a good option in the studio if you’re recording in a room that hasn’t been acoustically treated. Though be aware that the sound picked up from the back is also quite prominent, so it might be worth placing a sound absorber behind the mic when set to this position.
Bi-directional (Figure of eight)
The C414 in figure 8 position is ideal for more specialised situations. It can be used with another mic for a ‘mid-side recording’ set up, or to record backing singers, one on either side of the mic.
As the sound is only picked up from the front and the back of the mic, this is a great position for a singer/guitar player. Place the C414 in between the voice and guitar, with opposite sides facing each sound source.
Phantom power for the AKG C414 XLS?
As a condenser microphone, the AKG C414 XLS requires phantom power. Phantom power is a small, low voltage current sent to the microphone from a microphone preamp, mixing desk, or audio interface.
Most industry standard desks or interfaces are capable of providing phantom power, which is sent through the XLR cable to the microphone.
If your audio interface or mixer doesn’t provide phantom power, there is another solution: connect your mic to an external 48 volt phantom supply. Then connect the output of the phantom supply to the mixer, or audio interface.
Connecting the AKG C414 XLS
The C414 XLS uses an XLR cable to connect directly to the audio interface or mixer. XLR is the standard connector for professional studio equipment. An XLR connector is ‘balanced’, which means the cable is shielded from interference and carries a higher signal than unbalanced cables.
XLR cables are the only cables capable of carrying phantom power to the mic.
The AKG C414 XLS Design and Build
The AKG C414 XLS is surprisingly small when you hold it in your hand, especially when you consider the vast amount of features it contains within it. And if you’re looking to make stereo recordings, there’s no need to order a matched stereo pair, as they’re all so sonically consistent.
Taking it apart reveals two mesh grills – a heavier outer mesh, and a delicate more closed inner mesh. Both sides of the C414 are different colours – the front is silver and the back is black. This is the main distinguishing feature from the brighter XLII version, which has a gold coloured front.
It has a rugged metal body which would be hard to damage even if you were trying, but the grille is softer and has some give, so you would want to treat the C414 with some care.
On the front side, which has the AKG logo, you have access to the polar pattern selector with it’s 9 positions. And on the back there are two switch selectors – the 3 stage attenuator and 3 stage low frequency roll off (aka high pass) filters.
The attenuator gives you the option of 0, 6, 12 or 18 dB cuts in sensitivity giving it a max SPL of 158 dB, which will be suitable for loudest of sound sources. And the roll of selector has the options of 0Hz, 40Hz, 80Hz and 160 Hz which you can use to match your sound source, or to compensate for the proximity effect.
There’s a built in peak monitoring system – if you reach within 2dB of the 414’s limit, it will flash red as a warning. This is clearly visible under low-light conditions, as are the standard green LEDs.
Inside the C414, you’ll find a gold-sputtered diaphragm with only the front side coated – this allows the high SPL capability by ensuing that the diaphragm and backplate don’t touch and short.
The transformerless circuitry of the AKG C414 has an impressive dynamic range of 134dBa, compared to a mic such as the Neumann U87 at 115 dBa. The self-noise is minimal at by 6dBA, making it one of the quietest mics around, so you could potentially make nature recordings, as the humidity and temperature tolerances are also very good.
AKG C414 Dimensions and Weight
The C414 XLS has a solid and compact design, compared to some bigger microphones with comparable capabilities. This is a real bonus for setting up unobtrusive mics in the studio.
At 300g, the C414 weighs less than a Shure SM57. The low weight and size make the AKG C414 XLS a good for to use when you need a quality large diaphragm condenser as overheads or room mics, as the low weight can easily be held by a boom arm without the danger of it slowly dropping.
AKG C414 XLS frequency response
The XLS has a reasonably flat frequency response throughout the spectrum, with a little dip between 1 and 2kHz, and a gentle peak starting at around 10 kHz. The low and mid range is warm and rich, with a distinct clarity, definition and presence in the high end
The frequency charts below also show how the low-end frequency roll off switches affect the sound. Notice that the 40 Hz, and 80 Hz roll offs are much steeper than the gradual 160 Hz roll off.
Although the character of the C414 remains very consistent regardless of which polar pattern you select, there are some small variations in the sound, which we explore below:
Omnidirectional frequency response
When you’re using omnidirectional pattern, the C414 XLS has a flat response right up to about 5kHz, with the exception of a small 1dB dip between 1 and 2kHz. Typically, dips in this area can be good for reducing nasal sounding frequencies on vocals or a tinny sound on instruments.
Between 5kHz and 18kHz, a high frequency area normally used to add air or presence, we see a subtle 1dB peak between 5kHz and 8 kHz before returning to flat, then a larger 2dB peak between 9kHz and around 17kHz. This adds definition and clarity to the sound without introducing any harshness or sibilance.
Wide cardioid frequency response
The frequency response of the wide cardioid setting is similar to omnidirectional, with the subtle dip between 1 and 2 kHz. But after this it remains flat before a subtle 1.5 dB boost between 10 kHz and around 18 kHz. This is generally a flat frequency response with a slight lift in the highest upper frequencies for extra clarity and definition.
Cardioid frequency response
The cardioid pattern is similar to the wide cardioid pattern above, but there’s a distinct lift from 3kHz to 10 kHz, before the same high frequency lift above 10kHz. Don’t expect to necessarily hear this – it only lifts between 0.5 and 1dB, but in theory it would make the sound slightly brighter. Note there’s a roll off of about 1 dB from 50Hz, which again, wasn’t audible to my ears during testing.
Hypercardioid frequency response
The hyper-cardioid polar pattern is generally very flat, with the same distinctive dip between 1 and 2 kHz found on the other patterns. Note there’s only the slightest hint of a peak at around 15kHz, and slightly more subtle bass roll off than the cardioid, starting at 60 kHz.
Figure of eight frequency response
The figure of 8 frequency (or ‘bidirectional’) response shows the biggest difference to the other polar patterns. It shares the subtle bass roll off of about 1dB below 60 kHz, and the subtle boost between around 2 and 7 kHz found in the cardioid and hyper cardioid patterns. And it also has they typical C414 dip between 1 and 2 kHz.
Where it differs from all the other patterns is in the highest frequencies, where instead of the small boost starting at 10kHz, it begins to dip at around 7kHz by 1dB, before reaching 0dB and 15 kHz, and then dips again.
This shows the biggest sonic differences between the higher frequency responses of the figure of 8 and omnidirectional modes – the omni mode being brighter, peaking +2dB at 13 kHz, and the bidirectional pattern dipping by 1dB at around 10kHz.
AKG C414 XLS Sensitivity and Impedance
The C414 XLS has an impedance of 200 Ohms. This is classed as low impedance, which makes it suitable for use with very long cables without degradation to the signal. Make sure to use a balanced cable with this mic for the best possible signal.
The AKG C414 XLS has an impressive SPL of 140dB with no attenuation, and up to 158dB with the maximum attenuation of -18dB. This makes the C414 suitable for some of the loudest sound sources you could throw at it.
The XLS seems to have the best of both worlds – it’s an extremely sensitive mic, which picks up every expressive detail and nuance, but is equally at home on louder sound sources, such as a piano or drums.
AKG C414 XLS Sound quality
The AKG C414 XLS has an exceptional sound, with a warm, expansive sound across the frequency range. It’s largely flat across the spectrum, and manages to combine a natural sound with warmth and transparency.
I’ve used a single AKG C414 XLS almost exclusively in my home studio for the past few years, simply because of it’s versatility – stunning sound and a selection of polar patterns. Before that I mostly used a pair of Neumann U87s but I find the C414 perfect for most of my routine tasks now, which include vocals, violins, flutes, guitar and percussion.
I find that bright sound sources can be captured with nuance and warmth, without turning them into brittle recordings. And darker sound sources are given an almost imperceptible lift which really brings them to life.
The sound has a very smooth top end, which makes it a great choice for anyone working in a mainly digital environment. The C414 adds character and fullness without introducing colouration.
The XLS has a clear upper end presence, but with an unmistakable warmth and depth to balance it out. If you’re looking for something even brighter, you might like to look its twin model, the C414 XLII. I find the XLS naturally tames any harsh frequencies, and because of that it’s my first choice for recording my collection of new and vintage melodicas.
AKG C414 XLS for recording melodica
Melodicas have complex overtones that can difficult to record without it sounding honky or overly complex in the highest range. But I chose the C414 XLS to give them a lovely warmth and rounded top end, while still staying true to their natural tone. Try it on concertina, accordion and other free reed instruments too.
You can hear and watch an example of me playing a solo melodica with a C414 XLS (in its shock mount) in an untreated large room here. The mic is set back about 2 foot to be just out of frame. To hear and see a selection of melodicas close recorded in a treated room, have a listen here.
AKG C414 for recording guitar
The AKG C414 XLS is considered a classic for recording the guitar. Using just one mic, I find the sound to be balanced, and detailed with a clarity that I don’t normally hear when recording acoustic guitars, classical nylon, or steel string acoustics. It has depth without being overly bassy, and the high end shimmers, creating a rich unified whole.
With the large diaphragm and characterful capsule based on the 1953 C12 microphone, it also seems to fit into mixes well. Because the sound already has a solidity to it, it takes EQ well, and can be made to work in a lot of music styles.
If you like to play guitar and sing at the same time, try recording in the bidirectional polar pattern, where one side will capture your voice, and the other side will record the guitar from above.
The AKG C414 also sounds fantastic on electric guitar, and is well suited to the volume with a max SPL of 158 dB. Placed in front of a guitar amp, I find I can achieve a full sound with a natural sounding low end, and crunchy detailed top end.
It’s a world away from the standard dynamic mic in front of the cab, as you can capture the full frequency range, including the detailed highs that only a condenser mic can capture. It’s not an in your face, aggressive sound – the C414 will always be more of a tool for refined sound.
AKG C414 XLS for recording instruments
Spoken word and voiceovers sound good too – clean, professional and detailed, and I’ve used the mic for this purpose on many of my projects with a touch of compression. You can get really close to the mic to activate the proximity effect and sound like you’re much bigger than you are!
It also performs very well on vocals and certainly one to use on lead vocals. If you were comparing the XLS to the XLII version, which has a presence peak for vocalists, I think you’ll find the difference to be very subtle. The XLII will provide an edge for a vocalistic who needs it, but might be overkill on the highs if you’re recording a strong voice with naturally produced overtones.
Any sort of percussion instrument sounds good on the C414, including drums from a drum kit – as overheads, on a snare, or many other places. Remember how high the SPL is on the C414 – it an easily handle a kick drum. It tends to warm the drums up, and doesn’t add any brittleness.
The same goes for other instrument with naturally bright characters – violins, violas, cellos, double bass, flutes, woodwinds and horns. The C414 XLS is ‘big’ enough to handle them with ease – you’ll hear them as you heard them with your ears, yet they’ll have a subtle and effortless warmth and rounded top end.
The choice of polar patterns makes the C414 adaptable to whatever instrument is in front of it. A piano is best recorded in a nice room with a pair of C414 XLS’s set on omnidirectional, but if you’re stuck for space, use a single mic set to cardioid. Likewise, the flute sounds very natural on the wide cardioid, but if you’re in an untreated room, set it to hyper cardioid, to hone in on the sound source.
AKG C414 in the recording studio
In my home studio, the combination of superb sound, light weight and small size make the C414 my go-to microphone for most sound sources. It also looks great if you’re making a music video. When you consider the range of polar patterns available, it’s like having a set of microphones on hand for every situation.
But on the C414 there’s even more – the low roll off switches enable you to switch between 40Hz, 80Hz or 160Hz. That means you can position the mic right next to instruments or vocals without necessarily boosting the bass from the proximity effect. With close miking like this, you can minimise room reflections, for a clean and clear recording.
I like the C414’s illuminating LEDs, which show me at a glance which settings are on, as well as the overload red LED, which I have to admit I very rarely see.
The only time I’ll use the provided pop filter is when doing a voice over or recording vocals, as the mic is reasonably sensitive to plosives. The foam windsock was still in the original box before I did this review, as I’ve never needed to use it outside. I couldn’t detect any change in sound from having it on or off the mic.
Although the shock mount is plastic I’ve found it to be strong and reliable over the years. It’s very easy to use – you just insert the mic facing the direction you need it, and twist the base to secure it in place.
For me, the AKG C414 XLS is an outstanding workhorse to have in the studio, easy to use, and virtually guaranteeing me both a technical and musical recording.
AKG C414 evolution of a classic mic
The history of the AKG C414 goes back to the 1950’s with the introduction of the the most successful tube vocal microphone of all time – the AKG C12.
While the C12 had an incredible sound, it was very large, and came with its own boxy power supply, making it unsuitable for use on TV. From the C12, came the C24, the C412, and the C414.
The first AKG C414 came out in 1971, featuring the solid-state C412, along with a CK12 capsule. It had the addition of a hypercardioid pick up pattern, making it useful for recording in acoustically compromised environments.
Over the next 50 years or so, the AKG C414 continued to evolve, as they tried out various capsules within the microphone. The AKG C414 EB was the very popular early version, using the CK12 capsule. It was known as the “brass ring capsule” as it was held together with a brass ring.
The CK12 capsule was complicated to manufacture, so AKG made new, simpler designs, that had a ring of white plastic replacing the former brass ring.
A popular version of the C414 with the new capsule was the C414 B-ULS (Ultra Linear Series) of 1986. It aimed to achieve a very flat, neutral sound, and had an improved noise floor.
There’s currently two AKG C414 models offered for sale today – the AKG C414 XLS, which is reviewed here, and the slightly brighter AKG C414 XLII. The C414 XLS is designed for a neutral and pure sound, similar to the earlier C414 B-ULS, but it has the advantage of a load of switchable options.
AKG C414 XLS vs AKG XLII
The C414 XLII and XLS are very similar mics, looking nearly identical, and both evolving from the original AKG C12. Although they have quite different frequency charts, they sound remarkably similar, as they use the same capsule. You can think of the XLS as the slightly tamer brother of the XLII.
The XLS is the smoother in frequency response, with a similar sound to the vintage C414 UBL. And the XLII is the more modern ‘character’ version, with a boost in the higher frequencies above 5kHz, which is particularly suitable for most vocals.
In general terms, the C414 XLS is the choice for anyone who works primarily with instruments but also has to record vocals or voice overs. It has an authentic and true sound, capturing an honest and detailed representation of what you’re recording. Compared to the XLII, the XLS is also good when you’re working with overly bright vocals or instruments.
But the same could be said for the C414 XLII – if you primarily work with dull sound sources, it would be a better choice to get some life into the higher frequencies. If you have a dull sounding guitar, or prefer a very bright guitar sound, you can actually make beautiful recordings with the XLII.
To summarise, choosing between these two similar mics comes down to what you intend to record, and your sound preferences.
Read the full AKG C414 XLII here
AKG C414 XLS vs Neumann U87 AI
The Neumann U87 AI is a large diaphragm condenser microphone with a velvety warm, neutral sound. It has a cult following amongst producers and artists, as it has an uncanny ability to make anything sound special.
The Neumann U87 AI has a very flat response, with a smooth presence peak at around 6kHz. This makes it appear to be much brighter than the AKG C414 XLS, which has a flat response, and a much less pronounced presence peak, starting at around 10 kHz.
The high end of the U87 also tails off earlier than the XLS, dipping down steadily from just before 10KHz. This smooths of the highest frequencies even more than the C414 XLS, making it in theory, more of a ‘warmer’ mic.
Areas in which the C414 XLS outperform the U87 are in the SPL and the features. The Neumann U87 would struggle to give you an undistorted signal above 127dB, making the XLS the clear choice for loud sound sources at 158 dB.
The Neumann U87 AI also only has three polar pattern options, Cardioid, Omnidirectional and Bi-directional, compared to the C414’s nine polar patterns. And it has one fixed low frequency roll off and one -10db attenuation switch, compared to the C414’s multiple options.
Both mics have classic pedigrees and designs, with the Neumann U87 a good bit bulkier, weighing 500g (compared to the 414’s 300g) and measuring 200mm in length (compared to 160mm). Before you make your decision, bear in mind that the U87 costs over twice the price of the C414, so for less money, you could enjoy a pair of AKG C414s.
AKG C414 XLS and the proximity effect
Where you place the microphone in relation to your instrument or mouth can make a big difference in sound.
If there’s other instruments or singers in close proximity and you only want to capture yourself, it’s best to sing or play directly into the mic. This will also cut out some of the sound of the room.
Normally being close to the mic will add more bass, but with the C414 XLS, you have the option to tailor the bass response to your liking.
For a more natural, balanced sound, place the mic between 5 and 10 cm away from the sound source. There’ll be less of the proximity effect, and the mic will pick up more sounds from other instruments, and the acoustics of the room.
To bring in more of the room sound, and the instruments around you, place the mic 10 cm or more away from you. This is also a good position to account for any unexpected peaks in volume.
What else do you need?
The AKG C414 XLS comes with a quality pop shield and shock mount unit, but you’ll also need a:
- Microphone stand
Large diaphragm condenser mics like the C414 have to be mounted on a stand. This will reduce any handling noise in the studio. Try a good quality boom stand, with a tripod base like the K&M 210/2
- XLR cable
If you invest in a premium condenser microphone such as the C414, it’s definitely worth getting a good quality cable. If you want the best quality XLR cables, try these. Go for the shorter lengths where possible.
Conclusion
It’s no secret that I use the AKG C414 XLS as my go to mic for the vast majority of tasks in the studio. It’s versatility and detailed sound make sure that I’m left with fantastic technical and musical sounding recordings in a variety of recording scenarios.
If you can only get one mic, I would suggest this is the one to have – it sounds good on just about everything! And if you already have a collection, the C414 is a must for you mic locker.
AKG C414 XLS Frequently Asked Questions
Does the AKG C414 XLS need phantom power?
The AKG C414 XLS is a condenser microphone, so it does require phantom power. You can receive power from the mixing desk, audio interface or a stand-alone unit
Can you use condenser mics on stage?
Condenser mics are a great choice for stage use as long as they have been designed specifically for live use. They’ll deliver a higher quality sound than dynamic mics.
Which artists use the AKG C414 XLS?
The C414 XLS microphones are found in most leading studio around the world and have been used on countless hit recordings, from Paul McCartney to Deadmau5