AKG C 414 XLS 9-Pattern Condenser Microphone

AKG C 414 XLS 9-Pattern Condenser Microphone

Accurately capture any source with AKG's most neutral C 414 model. The C 414 XLS updates a legendary large-diaphragm condenser with 9 pickup patterns.

AKG C 414 XLS ST Large Diaphragm 9-Pattern Condenser Microphones, Stereo Matched Pair

No longer available at zZounds
Stereo recording? You can't go wrong with this factory-matched AKG C 414 XLS pair. Selected from thousands of microphones, they're matched to within 1 dB.

A recording studio staple since the 1970s, the AKG C 414 microphone hardly needs an introduction. This instantly-recognizable large-diaphragm condenser has seen a handful of revisions over the years, as AKG has responded to engineers' demands for ever-greater headroom, sensitivity, and linearity. As an update to the B-ULS, the longest-lived C 414 design, the C 414 XLS is AKG's most neutral-sounding 414 model. The cutting-edge XLS is intended for accurate and detailed sonic reproduction, but it also retains the classic C 414 signature of extended low frequencies, crisp top end, and a gentle low-mids dip that rounds off the harsh edges of voices or instruments. Holding up its predecessors' reputation as a go-to mic for piano, drum overheads, classical ensembles, vocals and much more, the C 414 XLS adds unmatched versatility with an impressive nine pickup patterns.

Introducing the Nine-Pattern C 414

A multi-pattern microphone allows you to dial in a particular sound right at its source. If you're going for a natural character, choose a wider pattern; for a more direct, "in-your-face" quality, lean toward the hypercardioid pattern. The XLS' rocking switch rotates through omni, wide cardioid, cardioid, hypercardioid, bidirectional figure-8, and four intermediate settings for a total of nine patterns, for more flexibility than typical 3-to-5-pattern mics. With the C 414 XLS, you can always go a little narrower to add a heightened sense of reality or eliminate bleed from read more surrounding sources when recording an ensemble. Plus, the plethora of pickup patterns on the C 414 XLS makes it possible to place multiple mics in X-Y stereo, middle/side setups, ORTF pairs, Blumlein pairs, or even a Decca Tree configuration.

LEDs Display Pickup Pattern and Switch Settings

When you connect your C 414 XLS to phantom power, you'll see LEDs illuminate in green as you select your pickup pattern. If phantom power is interrupted, the C 414 XLS keeps its last pickup pattern in memory, so your mic will power on to the exact setting you left it -- which is especially useful if you have your XLS mics hanging in hard-to-reach spots over a choir or a large drum kit. Once you've made your pickup pattern selection, lock it in by holding the switch for three seconds to prevent bumping during handling. The LED lights provide quick visual confirmation for your settings. And with an eye toward visual confirmation, this update to the classic C 414 design has a distinctive silver grill on the front and a black grill on the back, so you can tell which way your 414 is facing from across the studio.

Pads and Filters: Dynamic Range to Spare

Flip the mic around to find the LEDs and rocking switches for the -6/-12/-18 dB pad and 40, 80, or 160 Hz bass roll-off filter, two of the most useful features on the C 414 XLS. Padded down to -18 dB, this mic can now handle a sound pressure level of an incredible 158 dB. But since you probably won't be making location recordings of space shuttle launches anytime soon, you'll be glad to know that the C 414 XLS is well-equipped to record much quieter sources, thanks to its transformerless design and internal capsule suspension system resulting in extremely low self-noise of 6 dB-A. The XLS model also introduces a peak hold function: if the output level of the microphone approaches its overload limit, the polar pattern LEDs will light up in red for about three seconds -- alerting you to engage the mic's pre-attenuation pad (or to perhaps ask that overzealous trumpet player to step back from the mic a few inches.)

See how versatile the AKG C414 XLS is in the studio:


- The most neutral and accurate C 414 model available, well-suited to nearly any source
- Capsule design based on the time-honored C 414 B-ULS
- 9 pickup patterns provide unmatched versatility
- 4-position bass roll-off filter
- 4-position pre-attenuation pad for handling up to 158 dB SPL
- Microphone "remembers" its pattern, filter and pad settings when phantom power is interrupted
- Lock mode disables switches to prevent bumping during handling
- Peak Hold LEDs illuminate red when the mic output is within 2 dB of overloading
- Transformerless design and suspended capsule for extremely low noise floor of 6 dB
- Includes AKG pop filter, foam windscreen, spider-suspension shock mount, and foam-lined aluminum flight case

A Refinement to a Legend

With its legendary stature as one of the most universal, versatile large-diaphragm condensers of the past four decades, the C 414 adds formidable flexibility with nine pickup patterns in the C 414 XLS model. If you don't already own one or more of these classic microphones, now is the time to round out your collection with AKG's updated version of the legendary C 414.

Two microphones with the exact same frequency response are perfect for 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.
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- Type: 1-inch large-diaphragm pressure gradient microphone
- Polar Pattern: Omnidirectional, wide cardioid, cardioid, hypercardioid, figure eight
- Sensitivity: 20 mV/Pa +/- 0.5 dB (-34 dBV)
- Frequency range: 20 to 20,000 Hz (see frequency response traces)
- Electrical impedance: 200 ohms
- Recommended load impedance: 2.200 ohms
- Bass cut filter slope: 12 dB/Octave at 40 and 80 Hz, 6 dB/Octave at 160 Hz, switchable
- Preattenuation pads: -6 dB, -12 dB, -18 dB, switchable
- Equivalent noise level (CCIR 468-2): 20 dB (0 dB preattenuation)
- Equivalent noise level IEC 60268-4 (A-weighted): 6 dB-A (0 dB preattenuation)
- Signal-to-noise ratio re 1 Pa (A-weighted): 88 dB
- Maximum SPL for 0.5 percent THD: 140/146/152/158 dB SPL (0/6/12/18 dB Pad)
- Dynamic range (A-weighted): 134/140/148/156 dB (0/-6/-12/-18 dB)
- Powering: 48 V Phantom power (IEC 61938)
- Current Drain: ca. 4.5 mA
- Connector: 3-pin XLR to IEC
- Dimensions: 50 x 38 x 160 mm (2.0" x 1.5" x 6.3")
- Weight: 300 g (10.6 oz.)

For support or warranty questions, please contact the manufacturer:
Phone: 818-920-3212

AKG C414 XLS ST LDC Mic Matched Pair

The AKG C 414 XLS ST Studio Condenser Microphone Stereo Pair consists of two mics that are matched within 1 dB to each other in sensitivity, and also within 1 dB to each other in the range of 300 Hz to 8,000 Hz of the individual frequency response when used in cardioid mode. This incredible stereo pair provides realistic stereo recording every time they are called upon. The AKG C 414 XLS has been a standard in the recording industry for many years.


- Absolutely perfectly matched stereo pair thanks to AKG's sophisticated computer-aided matching method
- Highest possible correlation over the whole frequency range and virtually identical sensitivity
- Selected from thousands of individual microphones
- Package includes two universal shock mounts, stereo bar, two stand adapters, two wind screens and a hardshell case

Realistic stereo recordings require microphones with outstanding performance and excellent quality. They also require performance consistency and accurate localization from the pair of microphones. Therefore, every factory-matched pair has been created from thousands of individual microphones selected by AKG's sophisticated computer-aided matching method. The result is the highest possible correlation over the whole frequency range and virtually identical sensitivity for stunning, three-dimensional recordings.

Using this matched pair for stereo recordings in various techniques will provide a good and stable balance without frequency-dependent shifting of the stereo panorama.