"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 cabinet (he would pick which mic he liked best for each song and its signal was sent through the Neve console at Sound City): a Shure SM57, an AKG 414, a Neumann U87, and occasionally a Sennheiser 421. His main effects were the DS-1 Distortion and Small Clone. A ProCo Rat distortion pedal was also used on some songs on the album (6). "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 their Viva La Vida album. When asked about the signal chain for Chris Martin's vocals in the studio, he mentions how Chris Martin really likes the AKG C 414 XL II Condenser Microphone. Rik Simpson says, "I don't use any other outboard gear when recording. It depends--Chris is a big fan of the [AKG] 414, so we use that a fair bit. He does a lot of vocals in the control room these days as well, with the monitors on, so I don't always like using a condenser mic for that. I'll use a dynamic, like a [Shure SM-7](http://equipboard.com/items/shure-sm57-instrument-vocal-mic) or something. We did use some other mikes other than the 414 as well, but the 414 generally seems to capture what he's about. It keeps it very organic, and earthy, and simple." Original article link [here](http://www.uaudio.com/blog/rik-simpson-ua-interview/).more
Pewdiepie recently switched from a Rode NT1 to a AKG C 414 XLII as seen in this video. You can tell it's the XLII version and not the XLS or any other version of the C414 like the AKG C414-B XLS because of the gold font present on the mic on the front and back of the mic. It's easiest to see it at 0:00-0:57 in the video. Another way to identify it's a XLII is because of the gold tint on the front of the mic as opposed to the XLS's silver tint. It's harder to see the tint because Pewdiepie turned the mic around to be able to speak into it but you can still clearly see the gold tint outlined on the top of part of the microphone when it is turned around.more
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.
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
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!