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.