AKG C414 XLS review: A modern legend

The AKG C414 has long been considered an industry-standard microphone, and for good reason. The microphone is known for its relatively natural sound and its ability to essentially be used on anything while still sounding great. Whether used on an acoustic guitar, a lead vocal, or even as a drum overhead, the C414 can excel. One of the latest variants of this do-it-all microphone is the AKG C414 XLS.

So how does the AKG C414 XLS compare with other models, and does it live up to the AKG C414 name? I’ve been using it for a while now to find out.

AKG C414 XLS design

There are a few things that make the AKG C414 XLS such an excellent microphone, but one of them is the fact that it’s so compact. Despite being a large diaphragm condenser microphone, it’s much smaller than some of its well-regarded large diaphragm competition, which can help when it comes to things like microphone placement and storage.

But its compact build is just the start of what makes this such a great microphone. Take one look at the mic, and you’ll see that it’s built to essentially be used in any situation, with a number of switches dotted around its body that can be controlled to match the task at hand.

The most obvious of those is the polar pattern switch on the front. Using this switch, you can actually choose from nine different polar patterns. There are five main polar patterns — as you can see from the pictures on the front of the microphone — as well as four in-between settings. This is more than the vast majority of other microphones offer.

On the back, you’ll find some other controls. There’s a pad with four different settings ranging between 0 and -18 dB, and there’s a low-cut filter, also with four settings ranging from 0 to 160Hz.

Perhaps the only downside to the design of these switches is that they require phantom power, unlike traditional physical microphone switches that are toggled using an actual knob on the front of a microphone. That’s because you select which pattern you want with LED lights indicating your selection. It’s probably not a deal breaker for most, especially considering the microphone needs phantom power for recording anyway. But if you’re purchasing for a large studio that might want the versatility of being able to select settings without the microphone being set up, this could be somewhat of an issue. Thankfully, the microphone retains its previously used settings even after it has been powered off.

That said, everything else about the design of the microphone is premium and high quality. The microphone is built excellently, and it certainly feels as though it could withstand the day-to-day abuse of a large studio, let alone a smaller bedroom recording setup.

In the box, apart from the microphone itself, you’ll get a hard briefcase style hard-case, a soft bag, a shock mount, a wind filter, and even an AKG PF80 pop filter.

AKG C414 XLS performance

Given the fact that the C414 XLS is such a versatile microphone, you might worry that it tries to do too much and gets in its own way. Thankfully, that’s not the case. The microphone sounds excellent.

That doesn’t necessarily mean that it’s for everyone or every situation, though. The microphone is relatively neutral, though it does have some brightness to it. That’s certainly not a bad thing. However, if you’re looking for the warmth of a classic microphone on a vocal, then the C414 isn’t necessarily the best option for your needs.

Again, though, that doesn’t make the C414 XLS bad for that scenario. On the contrary, it’ll still sound absolutely stunning. It’s just that you’ll have to add some of that warmth after recording rather than through the microphone.

To be very clear, I really like the bright tone offered by the microphone in many situations. For starters, on certain vocals, it is a perfect fit, especially for background vocals or vocals in which you want a little more cut. Even better, however, is how it sounds on the body of an acoustic guitar, where it can cut out some boominess while adding in some brightness.

Of course, given that brightness, the microphone also excels as a drum overhead or a drum room mic. Cymbals sounded bright and vibrant, and in a room mic setting, the snare offered a nice slap. I just wish I had a pair to test with, instead of a single microphone.

Along with the brightness, there is a certain openness to the microphone without ever sounding overly harsh or grating. That’s a fine line to walk, and the C414 XLS does so very well.

Part of its usability in all these settings comes down to all of the different options that you can choose from on the microphone itself. I loved putting it in an omnidirectional polar pattern for use as a room mic, though most of the time you’re likely to stick to a cardioid pattern instead, especially if you plan on using it for things like vocals and acoustic instruments.

Verdict

If you’re looking for an ultra-warm, ultra-analog sounding microphone, then the C414 XLS isn’t necessarily the microphone for your needs. However, any recording engineer knows that having at least a couple of neutral and brighter-sounding microphones in the arsenal can be hugely helpful. You might need fewer of those with the C414 XLS, given how versatile it is while still sounding stunning — and if you want something in the toolkit that can add back some of that brightness and shine, then this is the microphone I would recommend.

What’s the difference between the C414 XLS and XLII?

The AKG C414 XLS and XLII are very similar, and both are great-sounding and great-performing microphones. The XLII has a slightly more pronounced high end than the XLS, especially around 3kHz. That’s apart from the design difference, which is that the XLII has gold mesh and engraving, compared to the XLS’s silver.

Does the AKG C414 XLS need phantom power?

Yes, it not only needs phantom power for recording, but it also needs phantom power for its LED lights indicating its settings.