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Everyone’s heard it—and if you work in music, you’ve probably seen its unmistakable compact, diamond-shaped body with silver or gold grille, set up for everything from tracking vocals to recording live room ambience.
Since its inception, the AKG C414 large-diaphragm condenser microphone has captured some of the most iconic recordings—and the hearts of listeners alike. Widely beloved for its presence, clarity, pristine high end and well-balanced character, the AKG 414 has recorded classic vocal takes from Stevie Wonder to Sinéad O’Connor, as well as Billy Corgan’s acoustic and Josh Homme’s electric guitars. Stereo pairs of the 414 sit above Elton John’s piano and Terry Bozzio’s drums during live performances. When producing Taylor Swift’s Folklore and Evermore albums, Aaron Dessner miked an upright piano with 414s—just as he’s done to record his own signature dampened piano sound with The National. It’s no mystery how the C414 has gained a reputation as one of the most versatile condenser mics of all time.
Since its debut in 1971, there have been over a dozen variations bearing the C414 name, not including other mic models in the C Series, like the C214 and C314 large-diaphragm condensers.
In this article, we’ll help you decide which present-day AKG C414 (or other C Series model) is right for you, as well as cover the history behind the legend that is the 414 multipattern condenser microphone.
Table of Contents
Comparing AKG C Series Microphones
AKG C414 Models and Variants
The History of the AKG C414
Select Your C414
People Also Ask ...
Comparing AKG C Series Microphone
|
Model |
Tonal Characteristics |
Polar Patterns |
Pads/Filters |
Best For … |
Price* |
|
Bright, three-dimensional |
Cardioid, figure-8, hypercardioid, omnidirectional, wide cardioid |
–6, –12, –18dB pads/40Hz, 80Hz & 160Hz low-cut filters |
Vocals, strings, piano, horns, woodwinds, acoustic and electric guitar |
$1,299.00 |
|
|
Warm, organic |
Cardioid, figure-8, hypercardioid, omnidirectional, wide cardioid |
–6, –12, –18dB pads/40Hz, 80Hz & 160Hz low-cut filters |
Vocals, strings, piano, horns, woodwinds, acoustic and electric guitar |
$1,299.00 |
|
|
Smooth, balanced |
Cardioid, figure-8, omnidirectional |
None |
Vocals, acoustic instruments, podcasting, streaming |
TBD |
|
|
Bright, articulate |
Cardioid |
–20dB pad/160Hz low-cut filter |
Vocals, strings, piano, horns, woodwinds, drums, percussion |
$449.00 |
|
|
Detailed, clear |
Cardioid, figure-8, supercardioid, omnidirectional |
–20dB pad/100Hz low-cut filter |
Vocals, strings, piano, horns, woodwinds, drums, percussion, acoustic and electric guitar |
$849.00 |
|
|
Rich, three-dimensional |
Cardioid, figure-8, omnidirectional |
–10, –20dB pads/100Hz & 130Hz low-cut filters |
Vocals, horns, woodwinds, guitar and bass amplifiers |
$8,649.00 |
Pricing as of January 2026*
AKG C414 Models and Variants
The contemporary C414 XLII and C414 XLS offerings are the most versatile 414s yet, each with its own unique sonic signature that gives them a brighter or darker tonality.
The budget-friendly C114 and C214, mid-tier C314 and the tip-top-of-the-line C12 VR round out the current members of the AKG C Series family of condenser mics.
AKG C414 XLII
Why It’s Cool: The XLII has a presence boost and spatial reproduction that harkens back to the original C12.
Key Features:
- Five main polar patterns and four in-between settings
- Handles up to 158dB SPL
- 23 mV/Pa sensitivity
Shop Now: AKG C414 XLII Reference Multi-Pattern Condenser Microphone
Easily distinguishable by its gold grille on the front side, the C414 XLII is known for its bright top end and exceptional versatility.
It offers nine polar patterns and –6, –8, –18dB selectable attenuation levels—all controls that can be disabled for permanent installations and live applications. An onboard LED shows overload peaks, which serves as a good indication to consider flipping the pad switch to avoid signal clipping and possible damage to your equipment.
The AKG C414 XLII stereo matched pair is also available, if you intend on using a spaced pair, XY, ORTF (aka side-other-side), Recorderman, mid-side or any other stereo miking with near-identical frequency response.
AKG C414 XLS
Why It’s Cool: The XLS is engineered for exceptionally high linearity and neutral sound, making it one of the most versatile large-diaphragm mics available.
Key Features:
- Five main polar patterns and four in-between settings
- Handles up to 158dB SPL
- 23 mV/Pa sensitivity
Shop Now: AKG C414 XLS Reference Multi-Pattern Condenser Microphone
The C414 XLS has a similar aesthetic to XLII, but with a silver finish on the front of its grille. While it’s identical to the 414 XLII in its selectable polar pattern and pad switches, as well as its peak hold LED, its transformerless design and different capsule give it a darker, warmer sonic character that’s more reminiscent of the vintage C414 B-ULS.Like the XLII, a C414 XLS matched pair is available to make your stereo miking dreams a reality.
AKG C114
Why It’s Cool: The most budget-friendly member of the C Series family, the C114 appeals to first-time recordists and content creators.
Key Features:
- Three polar patterns
- Handles up to 145dB SPL
- 13.5 mV/Pa sensitivity
Shop Now: AKG C114 Large-Diaphragm Condenser Microphone
Musicians today must also don their “content creator” hats and take to platforms like YouTube, Twitch, TikTok and Instagram to direct traffic to their tunes. The AKG C114 is a low-cost, high-performance C Series condenser microphone built with podcasting, streaming and video creation in mind.
It draws on an edge-terminated capsule echoing the design and sonics of the 414, as well as a transformerless FET circuit for utmost clarity. Three of the most popular polar patterns (cardioid, omni, figure-8) make it exceptionally versatile, too, whether you need close-miked directionality in the studio or whole-room ambience during a livestreamed performance.
The C114 multipattern condenser mic features a sleek, squared body, offering a discreet look that doesn’t pull too much focus while you’re on camera. As an added bonus, it’s produced from 100% recycled metals and alloys. Sustainability lies at the core of the 114’s every component—right down to the packaging.
AKG C214
Why It’s Cool: For those only needing a cardioid polar pattern, but who are seeking 414 XLII-style response, the C214 is an excellent, accessible option.
Key Features:
- Fixed cardioid polar pattern
- Handles up to 156dB SPL
- 20 mV/Pa sensitivity
Shop Now: AKG C214 Large-Diaphragm Condenser Microphone
The C214 cardioid mic is a great introduction to the celebrated AKG C Series for budget-conscious recording engineers, producers and musicians. Its 414-inspired design is immediately apparent everywhere you look. Similar to the sound of the C414 XLII, the 214 combines one capsule of the C414 with patented AKG Back-Plate Technology, giving it excellent dynamics and low noise.
This makes the 214 ideal for capturing all those lovely nuances of vocals and acoustic instruments that can add that touch of class to your final mix. It can even handle SPL of up to 156dB with its switchable –20dB pad, making the C214 a safe and accurate option for tracking drums and in live situations. It also includes a bass-cut filter at 80Hz to keep the rumble at bay.
If you plan on stereo miking acoustic instruments or drum overheads, the C214 is also available in matched pairs.
AKG C314
Why It’s Cool: Like the 414, it’s a true chameleon—the 314 is in its element capturing vocals, drums, piano, as well as electric and acoustic guitars.
Key Features:
- Four polar patterns
- Handles up to 155dB SPL
- 20 mV/Pa sensitivity
Shop Now: AKG C314 Professional Multi-Pattern Condenser Microphone
With its 1" dual-diaphragm capsule based on the 414 XLS, the C314 mic sits in the middle of the pack in terms of affordability. The 314’s computer-matched diaphragms ensure impeccable polar pattern accuracy, whether in omni, cardioid, supercardioid or figure-8. A bass-cut filter staves off unwanted low end, from hum to the proximity effect, saving you precious time when editing and mixing.
The 314 boasts impressively low self-noise, and its integrated suspension greatly reduces the risk of mechanical noise, while its durable scratch-resistant body makes it ideal for either studio or live applications. Plus, another 414-inherited feature is its overload detection LED, which can be quickly ameliorated by flipping the onboard –20dB pad switch.
As with the other current phantom-powered C Series offerings, the AKG C314 matched stereo pair provides technician-approved assurance your two 314 mics are frequency-matched.
AKG C12 VR
Why It’s Cool: The contemporary C12 VR captures the magic of vintage specimens, and with its eye-catching green/gold color combo, has become a modern-classic in its own right.
Key Features:
- Three main polar patterns and six in-between settings
- Handles up to 148dB SPL
- 10 mV/Pa sensitivity
Shop Now: AKG C12 VR Reference Tube Condenser Microphone
No C Series collection is complete without the C12, and the C12 VR tube condenser steps in to fill its present-day position with every bit of magisterial wonder as ever. The original run of the C12 was from 1953 to 1963, and remaining models are extraordinarily rare and expensive.
While the modern reissue C12 VR model won’t easily fit into a shoestring budget either, its trademark sonic character, exceptionally low noise and remotely selectable nine polar patterns closely mimic the original “Holy Grail” of tube condensers. It encompasses the prized CK12 capsule and N12VR power supply with a 6072A vacuum tube.
The History of the AKG C414
The story of the legendary AKG C414 condenser microphone begins with the founding of AKG in Vienna, Austria, in 1947—and its first colossally popular C Series condenser mic release a short time later.
The years following the end of WWII yielded a windfall of technological advances in audio engineering, from smaller, more efficient vacuum tubes, circuits and transformers to precisely suspended condenser (also known as capacitor) capsules.
Components inherited from earlier models—from the tube-powered C12 to the solid-state C412—and advancements in various technologies have played their roles in the culmination of the 414 and its many renditions.
The following is a quick timeline of major events in AKG history, as they pertain to the C414’s development and lineage:
- 1953: AKG releases the C12 tube condenser microphone
- 1962: AKG introduces a revised C12, known as the C12A
- 1970: AKG debuts a solid-state version of the C12A—the C412
- 1971: AKG launches the C414 COMBO condenser, featuring electrical design elements borrowed from the C12A and the renowned CK12 capsule
- 1976: AKG creates the C414 EB with an “extended bass” response
- 1986: AKG develops the lower-noise-floor, sonically neutral C414 B-ULS—the last model featuring a transformer
- 1993: AKG’s transformerless C414 B-TL II hits the market with a gold grille and brighter, C12-inspired sound
- 2004: AKG puts out the gold-grille, brighter-sounding B-XLII and the silver-grille, more neutral-sounding B-XLS
- 2008: AKG offers the C214 as an affordable, fixed-cardioid 414 derivative
- 2009: AKG unveils the flagship C414 XLII and XLS evolutions (with nine polar patterns apiece) as we know them today
- 2015: AKG issues the mid-tier C314, featuring multiple polar patterns and XLS-style sound
- 2026: AKG expands the C Series lineup with the entry-level, sustainably produced C114, including three polar patterns at a bargain price
The Groundbreaking AKG C12 Tube Condenser
Technically, the C1 was AKG’s first tube condenser mic, but only six were ever built—so the C12 tube microphone is largely seen as the one that started it all.
Originally released in 1953 as the first remote-controlled multipattern large-diaphragm condenser, the long, cylindrical C12 featured nine selectable polar patterns and was powered by a large 12AY7/6072 tube. The polar pattern could be selected via a switch on the connection between the mic and the power supply.
In the beginning, the C12 was used mostly on classical recordings and broadcast, but its sublimely flattering high end and unprecedented fidelity made it a studio favorite for Frank Sinatra, Elvis Presley, Tom Petty, Alanis Morissette, Beyoncé and countless others. Geoff Emerick even used it to record Paul McCartney’s bass during his tenure with the Beatles. It was immortalized in the “We Are the World” promotional video after Quincy Jones set up a U-shaped array of a dozen C12s to capture the star-studded performance.
One of the essential ingredients that gave the C12 its tantalizing appeal was the iconic CK12 capsule. This became known as the “brass ring capsule,” nicknamed for its distinctive—you guessed it—brass ring around (and supporting) the capsule. Implemented into many subsequent AKG mic designs, as well as into TELEFUNKEN’s legendary ELA M 251, the famous CK12 capsule has been coveted by engineers and producers for well over half a century.
First Evolutions: AKG C12A and C12B
A radical departure from the cylindrical body of the C12, the C12A was released in 1962, with a sleeker, more modern trapezoidal shape foretelling the ensuing C414’s form factor.
While it featured the same CK12 capsule as the original C12, the C12A’s new, compact Nuvistor tube and transformer allowed its housing to be considerably smaller and lighter, in stark contrast to the C12’s all-around imposing figure.
The C12A was furnished with threading for a stand mount and an XLR output connector on its body—a revolutionary feature we take for granted in many of today’s mics. The only caveat was it used an adapter to get to XLR, which added a bulkiness and a potential weak point in its construction.
Building on the C12A’s evolution, the C12B was later released with a slightly larger, plastic body and a pad switch, but was otherwise identical to its antecedent.
The Solid-state C414 Precursor: C412
Designed in 1970, the C412 was a solid-state FET (Field Effect Transistor) version of the C12A featuring three polar patterns, an onboard pad switch and a CK12 capsule. It was the first mic in the C Series to run on phantom power (it could take anywhere from 12V–48V DC) instead of externally supplied juice.
It was relatively short-lived in terms of production—partly due to its lack of enough polar pattern options for many engineers’ needs, in addition to its easily breakable plastic grille, and the fact it was prone to radio interference. However, its solid-state scheme and collection of components were a direct precursor to the 414 we all know and love.
The Debut of the AKG C414 COMBO
The original C414 debuted in 1971 with the electrical design of the C412 and the by-then-classic CK12 capsule. Formally known as the C414 COMBO (often called the “comb” for short), it had selectable cardioid, omni, figure-8 (bidirectional, also referred to as “figure-of-8”) and hypercardioid (a very narrow pickup for avoiding spillover from other instruments) polar patterns.
The 414 COMBO was released in two varieties: one with a DIN connection and the other with a standard XLR stemming from a stand adapter, like the C12A. While the C414 combs of the early ’70s were renowned for their shimmering top end, they lacked in their bass response.
Subsequent Early AKG C414 Models
AKG responded to concerns about a lack of low end in 1976 with the introduction of the C414 EB (for Extended Bass). Its distinctive all-metal silver housing makes it easy to tell apart from the other 414s, though it was a pivotal step in the evolution for what was under the hood.
The 414 EB came to be the first 414 model to have a built-in XLR output and the more-compact 414 aesthetic that we’re familiar with today. It had a redesigned transformer, 3-way attenuation pad—for especially loud sources like drums and guitar cabs—and 3-position bass roll-off switches.
The original EB came with a brass CK12 capsule, and it’s highly sought after for its sparkling high end to this day. However, this brass capsule was discontinued after a few years, and subsequent C414 EB models utilized nylon-fashioned capsules, producing a darker sound. Unfortunately, no distinction was made to the model number even with the differences in vital components, and the only way to tell for certain whether an EB has a brass or nylon capsule is by taking it apart and seeing for yourself.
While the C414 EB took phantom power from 9V–48V, the subsequent 1980 release, the C414 EB P48, was 48V only—hence the name—and came in a matte black housing. As a result, it was ever-so-slightly more sensitive, though it was otherwise very much like the previous EB microphones.
In 1986, the C414 B-ULS (Ultra Linear Series) was released and, with its gold-sputtered 1" dual-diaphragm, came into widespread use in studios on virtually every instrument. Known for its impressively neutral response and lower noise floor compared to previous 414 models, it was the final 414 model equipped with a transformer.
The C414 B-TL (for transformerless) did away with the transformer output stage in favor of an electronic balancing circuit, marginally increasing its max SPL handling. Its time was fleeting, and it was discontinued shortly thereafter. Fortunately for fans of the ULS, it remained in production for decades as one of the most popular microphones of all time.
Later AKG C414 Releases
In 1993, the C414 B-TL II was released, wielding not only a gold grille—the first of many 414s to do so—but also a brighter sound (i.e., an upper-frequency bump) intended to follow in the C12’s footsteps.
While this went against expectations of what a 414 was “supposed to” sound like at the time, it’s become a desired golden trait many engineers deliberately seek out when they reach for a TL II. Aside from these two significantly distinctive qualities, it picks up where the C414 B-TL left off.
More recently, 2004 saw the introduction to the gold-grilled C414 B-XLII and silver-screened C414 B-XLS, not to be confused with the current C414 XLII and C414 XLS models, which were released in 2009. The XLII chased the sound of the rare C12, with a subtly hyped 4–10kHz response, while the XLS was meant to be more akin to the widely popular C414 B-ULS for a flatter frequency curve. Each had five selectable polar patterns, which were kicked up to nine in the contemporary 414 XLII and 414 XLS.
Select Your C414
As you’re now aware, the ever-versatile C414 condenser mic—in all its forms—comes from an impressive pedigree of long-admired mics that shine with their iconic sonic and aesthetic presence.
AKG has continued its tradition of crafting C Series microphones from the highest-quality components with thoughtful engineering, and it shows throughout the current array of 414s as well as the 114, 214, 314 and C12 VR.
Visit your local Guitar Center store to check out our selection of current AKG C414s and the rest of the C Series family, and our knowledgeable associates will be happy to help you find the perfect one for your recording needs. If you’re on the pursuit for an earlier model, browse our collection of used and vintage microphones.
Once you’ve got an AKG or two in your locker, check out the “Top 5 Reasons to Use Microphones Over Digital Models & Samples” for some additional recording inspo.
People Also Ask ...
What’s the difference between the AKG C414 XLII vs. XLS?
The C414 XLII is voiced for a brighter top end. Its capsule delivers a sparkly presence boost and spacious soundstage reproduction that deliberately nods to the original C12 vibe.
The C414 XLS, on the other hand, keeps the same overall control set and flexibility, but leans darker and warmer thanks to its transformerless design and different capsule—more in the direction of the classic C414 B-ULS lineage.
Is the C214 a good alternative to the C414?
If you don’t need multiple polar patterns, absolutely. The C214 is a safe on-ramp into the C Series. It’s positioned at roughly a third of the cost of either 414 model, and its 414-inspired design and sound goals are pretty clear from the start.
How do I choose the right polar pattern on a C414?
Essentially, you’d pick the pattern based on how much room you want, how much spill you can tolerate or whether it’s pertinent to the microphone technique deployed.
Even the earliest C414s made their name by giving engineers options—cardioid, omni, figure-8 and hypercardioid for a narrow, highly directional pickup meant to minimize bleed from other nearby instruments.
With contemporary XLII and XLS models, that flexibility is kicked up even further (nine polar patterns), so it’s best to experiment—especially with those intermediate settings that can offer a totally unique voice.
Tighten things up when you need focus, open wider when the room plays a role in the sound and get familiar with the 414’s versatility to enhance your recordings.
Is a matched pair worth it for stereo recording?
If stereo miking is on your radar, a matched pair is a wise upgrade. Their near-identical frequency responses keep your stereo image consistent and authentic sounding—there’s no mismatched color that could smear the soundstage or make it feel unreal.
What made the CK12 microphone capsule so famous?
Very simply, the CK12 capsule sounded incredible. It was quite sensitive for the time and could produce rich, lush lows and shimmering, airy highs with a velvety texture that was bright, but not harsh. Engineers used the AKG C12 tube condenser and CK12-equipped TELEFUNKEN ELA M 251 for a variety of close- and distant-miked techniques, on numerous instruments, with fabulous results.
Ultimately, the CK12 capsule sported an extremely intricate, handbuilt design consisting of over 100 individual pieces, and it wound up just plain outperforming competitors of the period.