Since the release of the legendary C 414 microphone in 1971, AKG has ushered in a wealth of technical performance improvements to maximize headroom, sensitivity, and linearity -- all while maintaining the classic "414 sound" best described as a flattering, gentle low-mids frequency dip that can tame an instrument or singer's harsh edges. With the release of the C 414 B-TL II in the early 1990s, AKG delivered a presence boost reminiscent of the CK-12 capsule, well-suited to lead vocal and solo instrument recording.

Today, the C 414 XL II succeeds the TL II with improved detail between 4 kHz and 10 kHz. In plain English, this mic brings vocals and solo instruments to the forefront of a mix. The XL II also shines in distance mic applications, banishing muddy, boxy sound and bringing clarity and spatial reproduction to rooms and ensembles. Reaffirming the must-have status of this classic mic, the AKG C 414 XL II rises to any occasion with an incredible nine pickup patterns.

Matched Stereo Pair of AKG C 414s

What's better than one AKG C 414? A stereo pair of two AKG C 414s! Two microphones with the exact same frequency response are perfect when you want to mic something in stereo. For example, you can record a live orchestra by setting up a Blumlein or ORTF stereo pair in front of and above the ensemble to capture a realistic room. If you'd like to record piano, you can set up a spaced pair over the high and low strings, or if you'd like to hear more room sound, you can build an X/Y pair outside of the piano. Give your acoustic guitar recording realistic depth by setting up a Blumlein stereo pair of mics in front of the guitar.

Yes, Nine Pickup Patterns

Sonically and physically, the C 414 XL II resembles its famous predecessor. But as soon as you plug in phantom power and touch the rocking switch to cycle through omni, wide cardioid, cardioid, hypercardioid, and bidirectional figure-8, you'll find that LEDs illuminate to reveal four intermediate settings between these five patterns for a grand total of nine polar patterns. Dial in an exact pattern to match any instrument or performer, and lock your choice of pickup pattern by holding the switch for 3 seconds. The XL II is so advanced, it "remembers" its pickup pattern setting. So if you've got an orchestral setup or a big drum kit with mics hanging everywhere and your phantom power is momentarily interrupted, your C 414 XL II mics will come right back to the settings where you left them when power is restored.

Four-Position High-Pass Filter

If you're recording a vocalist who's also playing acoustic guitar, you may try using figure-8 mode to get a tighter sound on the vocal while rejecting the guitar in the null point of the figure-8 pattern. On the other side of the C 414 XL II, you'll find a four-position bass-cut filter, adjustable to 40 Hz, 80 Hz, or 160 Hz. Select 160 Hz to offset the bass-boost that goes along with the proximity effect inherent to a figure-8 pattern, and there you have it: a tight vocal sound with a minimum of cranking around on an EQ. LEDs illuminate your choice of high-pass frequency for quick visual confirmation from the rear of the mic. (And speaking of quick visual confirmation, the front grill of the XL II is bright gold, while the back is black. It's an unmistakable update to a classic design.)

Incredible Dynamic Range

Go ahead and use it on screaming guitar amps, thrashing drums, a bagpipe ensemble, or a cathedral organ: the C 414 XL II's multi-position pad can attenuate its input down -6, -12, or -18 dB. When it's time to mic up the cannon that the United States Marine Corps Band uses on the 1812 Overture, the 414 can handle an earwax-melting 158 dB SPL with its -18 dB pad switched in. If even a millisecond of distortion occurs from clipping at the microphone, red LEDs will illuminate for about 2 seconds, so you'll know when it's time to engage the pad (or maybe back off the mic a bit from your source) But if you do happen to be recording a very quiet source, the XL II's electronics are even quieter, with an extremely low 6 dB-A self-noise. Long story short, with a dynamic range of 152 dB, there's not a lot you can't record with the C 414 XL II.

Features:

- Modern version of the classic C 414 with a presence boost well-suited to vocals and lead instruments

- Capsule based on the legendary CK 12 delivers spatial detail useful for distance-mic applications like drum rooms or classical ensembles

- Nine switchable pickup patterns, three bass-cut filters and three pad levels to suit any sound source

- Lock mode disables controls for installations and live situations

- Peak Hold LEDs illuminate to display overload peaks

- Low noise floor and 152 dB dynamic range

- Comes with AKG's PF 80 pop filter, foam windscreen, spider-suspension shock mount, and foam-lined aluminum flight case

Specs:

- Polar pattern: Omnidirectional, wide cardioid, cardioid, hypercardioid, figure eight and 4 intermediate settings

- Frequency range: 20 to 20,000 Hz

- Sensitivity: 20 mV/Pa (-34 dBV) - 0.5 dB

- Max. SPL: 200/400/800/1600 Pa = 140/146/152/158 dB (0/-6/-12/-18 dB) for 0.5% THD

- Equivalent noise level (IEC 60268-4, A-weighted): 6 dB-A (0 dB preattenuation) (IEC 60268-4)

- Signal/noise ratio (A-weighted): 88 dB

- Preattenuation pad: 0 dB, -6 dB, -12 dB, -18 dB, switchable

- Bass cut filter slope: 12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz

- Impedance: <=200 ohms

- Recommended load impedance: >= 2,200 ohms

- Supply voltage: 48 V phantom power to DIN/IEC

- Powering: approximately 4 mA

- Connector: 3-pin XLR to IECFinish: dark grey/gold

- Dimensions: 50 x 38 x 160 mm (2.0" x 1.5" x 6.3")

- Net weight: 300 g (10.6 oz.)

- Patent(s): Electrostatic transducer (Patent no. AT 395.225, DE 4.103.784, JP 2.815.488)