AKG C414 review: A Living Legend

The AKG C414 holds something of a legendary status within the recording industry. There have been many versions released over the years, and the manufacturer is still making plenty of them. So how do the modern equivalents stack up? Who still uses the old ones, and what’s so special about them?

‘What makes a great multi-purpose, consistent sounding mic?’, one might ask. A large diaphragm condenser that’s going to be great on vocals, clean and beautiful on piano, and perfect for any classical instrument; and also capable of close and distance miking of the softest to the very loudest SPLs. A true multi-pattern mic with the ability to roll off low-end in a variety of ways to control breath, air movement, and proximity effect. And preferably within the budget of anyone who’s serious about making music.

One mic fits the bill: the AKG C414. Well, technically it’s two mics, but more about that later. And for this reason, let’s begin with the gold grill: the C414 XL II.

I don’t think I’ve ever been in a professional recording studio that doesn’t own at least one of these, if not a stereo pair. A single C414 XL II will set you back around the £800 mark and slightly more than double for a matched stereo pair, but I look at this in two ways. Firstly, this isn’t a fortune when it comes to a high-end quality condenser; and secondly, it’s a mic you’re always going to find a use for, even if you replace it for specific tasks with a more expensive alternative. I even know of someone who did just that, then struggled to get the same quality of sound from his new mic and the signal chain he’d gotten used to, and went back to the trusty C414. All the while, a mic costing considerably more sat in its display case.

The XL II is the model I particularly like, as it has that slightly enhanced 4kHz to 8kHz region that gives more air and detail to vocals. It works like magic on anything you put it on and just positions the audio that little bit forward: brighter without being harsh or brittle; without aggression, but with the want to be noticed.

It defines the lead instruments without the need for EQ, and sometimes even without much in the way of compression. So for anything of an acoustic nature that’s taking a lead melody, the C414 XL II is a really good choice.

The XL II is the model that AKG says retains the sonic signature of the original AKG C12 - the mic from which the entire lineage of the 414 was born. Now, I’m not lucky enough to have had access to an original C12, but if that is even half the truth, you’re looking at a comparison with a mic that costs the wrong side of £15,000. On that basis alone, this is a mic that represents value for money and absolutely demands you put one to the test for yourself. Personally I have used the older EB and B-ULS mics, and I’m still convinced that the XL II outperforms and has a more detailed and open sound than any of the earlier 414s I’ve used.

If I’m in a quiet moment and I’m talking about polar patterns and mic techniques with an artist, it’s invariably the C414 I use as my explanation tool, and also the mic I use to record with to provide examples. This is partly because I know it’s the mic they’re most likely to be able to invest in, but also because it often performs way beyond their expectations.

Both of AKG’s C414s have now been available for 20 years, and although the company has seen a number of changes in terms of acquisition and relocation of manufacturing, they remain remarkably consistent.

Despite the odd comment - mainly by those who don’t use the mic - that ‘they don’t sound like they used to’, in reality I have vintage models from sought after German manufacturers made a year apart which don’t sound the same. However, the C414s I have that are vastly different in age sound remarkably consistent. I won’t deny I have a personal favourite which has a piece of electrical tape on it saying ‘Do Not Use’ which I prefer and everyone else asks when I’m going to get repaired? Maybe never. But these differences are slight and subtle, and you’ve got to know your mics to really notice them. I actually don’t buy stereo sets anymore because the mics are so utterly consistent.

What’s more noticeably different is the change in character between the XL II and the XLS. As I mentioned earlier, the XL II has that noticeable airy top end, but both mics display a remarkably similar sound when switched to Omni. In Hypercardioid, the on axis difference is even more pronounced, and it’s this ability to tailor your pattern and sound to the instrument that makes it such a flexible workhorse. The only real way to understand how truly flexible this mic is, is to play with it. Interestingly, my understanding of the C414 has also stood me in good stead when it comes to many other multi and fixed pattern mics.

I tend to favour the XL II, but the XLS is really good for brass and woodwind instruments, and as overheads for drums when you’re already dealing with sound sources that produce a brighter sound. I’ve also found them preferable when miking choirs where you’re looking to emphasise the collective sound rather than pick out individual voices.

With regard to my live PA work [with CS Audio], this is the mic that - unless we get asked specifically for an XL II - regularly goes out the door. And on that note, Massive Attack, Leftfield, Lulu, James, and HardFi all specced C414s on their most recent tours.

Both of these modern takes have some really great features that set them apart from their predecessors as well as the competition. In preference to the old mechanical switch systems of the ‘80s and ‘90s, the 414s were updated with a system of microprocessor controlled touch buttons and LED indicators to cursor through their available settings.

This makes selecting between the nine available polar patterns - three high pass and three attenuation levels - incredibly easy. The pattern LED indicator also doubles as a peak warning indicator by turning red. The mics also retain these settings when the phantom power is cut - a very useful feature both for live touring work and recording sessions. The high pass options are also very handy as the two lowest options (40Hz and 80Hz) both roll off at a steeper 12dB/octave, while the 160Hz selection uses a shallower 6dB/octave slope.

Elton John’s long-time engineer, Stuart Epps, who worked on many of the artist’s classic records alongside producer Gus Dudgeon, still swears by his C414:

“It’s fairly battered these days, but it’s had the likes of Bill Wyman, Georgie Fame, and Gary Brooker singing - and blowing smoke - through it,” Epps told Headliner. “I’ve used loads of other mics – some incredible ones - but they all seemed to lack the warmth of this 414. I believe it has a valve in it, too. On the whole, if it’s a good quality vocalist, then using the C414 straight into my audio interface works great; the main thing is getting the performance and making it all happen, and with this mic, I always get it. Sonically, it’s excellent on acoustic guitar, too - I always use the 414 for all acoustic instruments.”

But it’s not just the old guard who swear by the C414s. Cam Holmes is a fast-growing London-based aspiring artist and influencer who recently invested in an AKG C414 XLS, and he uses it on everything:

“I’ve been using the C414 for the past few months, and it just works for me,” Holmes declared. “It’s on my latest single and will be on my upcoming single - and pretty much everything I’m doing in the music space at the minute. I love the way it makes my voice sound; you get those nice warm tones come through with this mic, which I find suits my voice very well. It’s certainly the best sounding microphone that I have used so far.

“I also love the design of it: it's really sleek. And learning how to work with the different polar patterns and options that are on the mic has taught me a lot, and encouraged me to experiment when I'm doing, for example, vocal harmonies, or just trying different types of vocals. It’s given me the confidence to get a lot more experimental all round.”

Emerging singer-songwriter Ben Murphy has been making some noise on the London gigging scene recently; he has used the C414 XLS a number of times.

“I’ve used these [C414] condensers on a lot of sessions,” he told Headliner. “Often on vocals, but also when miking my guitar cabs - they're usually the go-to. And I just find they’re super-clean, warm, crispy-crispy sounding, and because it’s AKG, you just trust that it’s going to be reliable.”

Shaun Lowe has owned Prism Studios for some 30 years. Currently based out of Stoke-On-Trent, his studio is a converted WWII bunker, and has a plethora of vintage kit: a DDA console, dozens of synths, and a pair of silver C414 EBs, which happened to be the vocal mic of choice for Queen frontman, Freddie Mercury.

“The AKG C414 was the very first professional mic I ever bought, and I had one of the very early rare long body C414s that split up into three separate parts; sadly it was stolen many years ago, but when it was working it was absolutely superb,” Lowe explained. “If I had to pick just one or two mics to record with then I would have a C414 ULS or EB in there, for sure.”

Like Epps, Lowe has always turned to his C414s on acoustic instruments:

“They’re very clean, they’re quiet, and they have massive bandwidth; you can kind of breathe into them with a pair of headphones on and really feel the sub low end in them; they really are quite unique in that respect.

“I love them on acoustic guitars, mandolins, pianos… But they’re also very nice on toms. If I have a drum kit to record that maybe only has a rack tom and a floor tom then quite often I will use C414s. The EB’s character is slightly mid-scooped, and it really suits that drum application. But again, it’s just a very versatile mic: you can place one next to anything and you’ll just get a very natural sound.

“They’re particularly good on vocals if the singer has a harsh voice; a C414 can really help to smooth things out due to this scoop thing which seems to be characteristic across the board. It’s definitely one of my favourite condensers to this day.”

Irrespective of style, era, or genre, the AKG C414 microphone range has remained a staple in the recording industry. Its ability to capture everything from the most delicate vocals to the most powerful instruments, combined with its multiple polar patterns and high-pass filter options, makes it a truly invaluable tool. Its consistency across different generations and models, also underscores its longevity and reliability. Whether used by accomplished engineers or emerging artists, the C414 consistently delivers, making it a bona fide go-to microphone for professionals worldwide.