The ubiquitous AKG C414 mic has been manufactured in various forms since 1971. I’ve reviewed the modern day C414 XLII [Tape Op #154] and given it high marks, so when the opportunity to check out its sibling microphone, the C414 XLS, came up, I jumped at the chance. Both of these large diaphragm multi-pattern condenser mics are almost identical in look, feel, design, and price, with excellent accessories included. The primary difference between the two is that the XLS model is considered a “reference” mic, featuring a flatter frequency profile across the spectrum, whereas the XLII has a pronounced presence bump, giving it an airy and finished quality on sources such as vocals.
In addition to cardioid, wide cardioid, hypercardioid, figure-eight, and omni patterns, the C414 XLS offers four intermediate pickup patterns. The mic has a claimed frequency response of 20 Hz to 20 kHz, a max SPL handling of 158 dB, three low cut filter options, and three pre-attenuation pads at -6 dB, -12 dB, and -18 dB. These settings will lock for use in live situations, and the XLS also has an LED overload indicator with peak hold functionality. Its metal body feels substantial, XLR connections are snug, and it comes with a pop filter, windscreen, shock mount, and a metal foam-lined carrying case.
I employed the C414 XLS on a variety of typical sources: acoustic guitar, various percussion, drum overhead, and acoustic piano. In all cases, it captured a clear, honest representation of the instrument. This description may seem as if I am saying the mic is “boring,” but that is simply not the case. The high end of the XLS presents more neutral than the C414 XLII, which is airy and reminiscent of its ancestor, the AKG C12, but in many situations the XLS’s true-to-life representation is just what I need. Paired with the right mic preamps – in this case both a BURL Audio B1D [Tape Op #111] and a Chandler TG Microphone Cassette [#117] channel strip – the XLS excelled on sources that require a capture without hype.
I enjoy using mics that fit a certain sound characteristic or profile, and when I need something to be accurately represented and work in a mix without a lot of sonic wrangling I'll reach for a mic like the C414 XLS. After a few days of familiarizing myself with the mic, I began using the XLS to record sources that sounded overly bright and could then use less or no EQ. Specifically, I had just put new strings on one of my acoustic guitars and recorded it with a Sony C-80 [Tape Op #157] plus an AKG C414 XLII (I love both these mics), but it was a little too jangly for the song. Re-recording the acoustic with the XLS mellowed the brightness out a bit. After lightly compressing and rolling off some low frequencies, it sat effortlessly in the track.
In many cases, C414 microphones excel on vocals. I observed this last year while working on the Farmer album, The Color That Suits You. For much of Jeff Taylor’s vocals we used a Shure SM7 [Tape Op #37] through a Daking mic pre, but I started looking for something different for a few of the tracks. After auditioning several lovely mics, I decided to try the C414 XLII, which we had be using for acoustic guitar. We were both immediately enamored with the clarity, already mixed sound, and the lovely top end. With that experience in mind, I put the XLS in front of a singer I was working with on another project and was, once again, pleased with the result. In this case, the singer had a slightly harsh and nasal tone that the mics I typically use for vocals accentuated. The XLS mellowed this out a bit, and with a little strategically-employed EQ and compression it sounded phenomenal. The singer’s recording with the XLS was rich and full of warm tones. Although the top end of the XLS is a little more neutral than the XLII, with less sparkle, it was a superb capture and worked especially well considering this particular singer’s tonal anomalies.
In omni mode, we recorded some claps and layered group background vocals, also achieving a solid result. Interestingly, the neutral-leaning quality of the XLS let me hear more clearly the character of the mic preamps I paired it with, and I made some different choices along the way because of it. With its onboard features, polar pattern options, solid build, and bonus accessories, the C414 XLS is a great microphone that excels in a multitude of recording scenarios, marking another high-quality offering from the acclaimed AKG lineage.