It is a nice mic. austrian audio and lewitt (ex-akg folks) make better variants of the 414 than akg these days... - i favour the tlm170 in most cases i used to use a 414 though (eb and b-uls here; never got to like newer versions much). In my mic locker, of my large diaphragm condensers this is my favorite. My most discerning classical guitar clients always seem to choose it over some of my fancier mics. Rich and full-bodied with a subtle high end that lends itself to the recording of acoustic instruments and being a great overhead mic. AKG C414 XLII vs B-ULS. Usable and acceptable on many sources, I tend to favor it with classical instruments and ensembles, and on grand piano, hand percussion, and drum overheads. You can dial in some really cool proximity effect with the patterns. UNIVERSAL AUDIO 6176...How does it compare. See if you can buy 2. Let your mind free to imagine in how many scenarios these tools can be used. My friend just bought this mic and I'm wondering if it will go well with an LA610 MKII which I use with my Sputnik. The XLS, which is a little darker sounding than its’ partner is a total “workhorse” microphone and it is always my default choice for its’ transparency and wide frequency response. AKG C414 XLII Review – A high-end microphone. I give the AKG C414 XLS a 9 out of 10. I can see how some singers don't like that, but any real strong singer has always been happy with what this mic can do. My friend just bought this mic and I'm wondering if it will go well with an LA610 MKII which I use with my Sputnik. So the XLII has been discounted at Sweetwater and the B-ULS seems to go for around $850 used. I do location recording and my mounts do not remain on the stands like in a studio and I do not want to strip the threads. Like the original shockmount, the mic stand adapter threads are plastic. The mic doesn’t have a lot of character but with a lot of voices it sounds just right. And I do like it for vox, in a treated room, I like the fig 8, with a powerful voice it just captures everything. Lets take a look at all the whiz bang features before we get onto the sonics. It is, however, hugely annoying when you’ve positioned a mic and realise you’re not sure what polar position it’s in, as most of the time the LED’s are out of sight. I've used them in MS applications for guitar with really nice results as well. If you need a brighter sound, the XL II is your best bet. 1 Review written. Hey there! That's a steal, all day long. It also really shines at catching a great acoustic guitar performance. Everything is relative, after all. And one more thing - don't drop these. The biggest strength in these mics is the smooth high end. AKG C414 XLII Review: Conclusion. Very much agree with the TLM 170. Perhaps because you are getting some of the transformer voodoo back from the outboard pre. They aren't of the same generation. That being said, one of the cons this mic presents is its’ use in lead vocals—the lack of edge and harshness sometimes causes the vocals to get buried in the mix. We were using a Rode NT2A which has an obvious brightness and not a good one as compared even through the ISA. As has been said above, a very versatile mic, nicely put out, with a clean, open sound. The only thing that sometimes comes up as an issue is that the mic actually feels a bit mid hyped on some sources. The AKG C414 XLS is one of the “two brothers” in the C414 legacy. AKG C414 XLII: even brighter. Very fun to get experimental with too. You’ll want a well-treated room for recording vocals and will have fantastic results with care. It's very hard to get a bad sound with these mics. With these you have to fire up the phantom power BEFORE you can set your polar patterns, so no set and forget. While I find the highs a bit much for some vocals, I still really like to use it for female vox, especially on tracks that are going for a lighter airy quality. And how does the C414 stand up in today’s highly populated world of microphones? If you are planning on getting a matched pair, you will more than double your fun. For $25 each, they look to be bargain. Hey there! How is that possible? i'll be using them for acoustic guitar, vocals, voiceover work in a semi-treated room. I plan to find a short, metal, male x female fitting to permanently attach to mine. Not really. Share Quote. User review from chrislieck about AKG C414 XLII : 10 out of 10 When you buy products through links across our site, we may earn an affiliate commission. It has very low self noise, has more polar patterns than you would want and it sounds really nice. I also compared the newer XLS with an old transformer based B-ULS and found it performed favorably on acoustic guitar and vocals. I just got these, so I can't say how well they will hold up over time. You can't go wrong. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. If you are going to buy a higher end microphone get a stereo pair and few non. After using this mic on lots of different sources I would say its earned its rep as a workhorse and a standard. You have to be careful on the acoustic of the room. And thus we move onto the sound of the mic! I heard the mic is darker so maybe there's a better preamp choice to compliment it? If most of the time you can’t see them, most of the time the feature is wasted. Features Of those two, the XLS is flatter and the XLII is brighter. It can sound just a bit too sterile or even "clinical" in some instances, but not always, and does have a capacity to sound almost lush with the right source, pattern, pre-amp, etc. Digital switches? Milliken. I've got experience with both mics although I have yet to own any. Lastly, my favoured pattern is the figure-of-eight which is flat across the spectrum with a slight slope off at about 15KHz and sounds beautiful when used for mic'ing up bluegrass bands where players will wander in and out of the focal zone. 17th May 2014 #2. The cardoid pattern gives a lovely rich mid-range and a mindful bottom-end that doesn't swamp but compliments the glorious mid range quality that this mic exudes. For example, I much prefer the XLS through the Pacifica; mid forward, fat, silky, and sounds like a record. Superlux HM26B (If someone knows of such, please let me know.) The XLII is more similar to TLII (brighter top) and the XLS more similar to the B-ULS (flat). I often work with the older versions, and they seem easier to use, and somehow more trustworthy, to me. Yes. Such a versatile mic! My ears were pleased when miking horns, double bass, cello, percussions or drums (in almost any part of the drum kit, the 158dB maximum SPL makes no problem when miking extremely loud sources as kick drums). Courtesy of the wonderful "Zervas & Pepper"... this is "Living in a Small Town", 03_Zervas & Pepper_Live @ Inflight_Living In A Small Town.mp3 (8.64 MB, 32224 views). The current incarnation of which includes digital switching, a plethora of polar patterns, filters, and pads built into the mic, and a capsule AKG assures us is sonically similar to the CK12 capsule that helped make the 414 famous. The Omni-directional pattern gives an air lift above 10Khz of a few dB but also slightly attenuated between 2 - 4Khz which lends itself to being a great overhead or room microphone for drums. The AKG C414 XLS is one of the “two brothers” in the C414 legacy. This microphone takes everything, the bad and the good, close and far far far. It means that before you put them up as drum over heads, you’ll have to go back into the control room and switch the 48v on. A tag line for it might be: "The best generic sounding mic in the world". Annoying?

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