AKG C 414 XL II Condenser Mic
"He also used a Fender Bassman on about four songs and a Vox AC30 for some clean tracks. Four microphones were used to mic Kurt's speaker... more
Billie Joe Armstrong's rig includes numerous AKG C 414 XL II Condenser Mics. more
In an article found on Universal Audio's site, producer/engineer Rik Simpson is interviewed on what gear he used to record Coldplay for t... more
In the description of Collier's cover of *Close to You* by The Carpenters, he says that two of these microphones were used to record the ... more
Reviews
Trusted musician and artist reviews for AKG C 414 XL II Condenser Mic
Based on 5 Reviews
Great at almost anything!
I use this for vocals, recording guitars, even micing amps. Tremendous mic and a definite workhorse!
This is something special
For house music production I personally prefer a bit darker and crispy sound. AKG 414 XL ll give me decently what I want. Clear, darker and with brutally quality sound. I recommend it for lead vocals, saxopfone and violin
Very professional microphone!
Very clear and brutally quality sound. I recommend it for lead & backup vocals! The best mic ever!!!
I wrote my experience. It gives very clear sound (catch everything nice, lows-mids-highs), so you can mix vocals in way you want. I don't know about recording instruments, but for vocal recording is top.
The best mic ever!
It took me a long time to save up for this mic, but it was well worth it! listening to all sorts of tests and shootouts...it just wasn't worth it for me to go with anything else when I KNOW I would have gotten a professional sound out of this thing. Months later, and an awesome $700 deal on Amazon, I finally got it...and I love it! I've only used it on vocals at the moment, but I've gotten nothing but praise from everyone. It's full, transparent and just sounds fantastic!
You really can't do better than this! I know it's super-pricey, but it's well-worth the price tag!
My "Go To Mic".
I must have no less than 10 of these. I even use it on snare with a beta 56 (tighter patters w-1k more added on the freq response). That is all I ever need, but you can add a snare bottom of that is your thing. I have never had a drummer hit one. I have even used 120 mic, an entire kit. It came out sweet. Loved it.
But aside from the obvious. My technique is for a guitar cab is: a 57 on the speaker, a 414 a few inches off (another 414 on the back if it is open back cab, and a royer ribbin (one of those $400 ribbons is cool too) a couple of feet off. My trick, is a kick mic, usually a D112 used exactly as the 57 is. I bring the 57 & D112 (type) to unison, sun them, then sum the two room based mics on a second track. I have never needed "more than this". If I have needed more, I knew before hand and used a different mic-ing approach.
This technique works very well with 2 cans facing 180 degrees apart, mic then the same way.
Guitarists are used to stereo tones at home, but want their "unicorn tone" in the studio. I have found this is the shortest distance between two points.