Topic: AKG 414XLS/ULS/EB?? Is one type or series preferred over the other?

[mark_ivan]

Does anyone have an opinion  as to the respective pros and cons for the different series of this mic?

Would probably be using these to record non-amplified music (group of tabla players for now) using MS, ORTF, J-Disk or maybe even a Decca Tree, in a mid sized room, and later possibly in a larger performance space.

Also anticipate using these for relatively quiet source material or other unamplified music sources.

Thanks!

[Teen Wolf Blitzer]

Acoustic type stuff?  I'd go with the TLII's/XLII's.  Really picks up voice and strings well IMO.  I miss my TLII's.   

[DSatz]

Among the many models of "414" that AKG has offered at various times, three types of capsules have been used, each having a distinct sound quality. The original capsule type as used in the C 12 microphone (from which this whole series is derived) is no longer made. The microphones that have it (C 12; Telefunken Ela M 250 and 251; C 12A; C 412; C 414) are all at least 30 years old by now, and are quite difficult to obtain with original capsules in good condition.

The second capsule type has essentially flat frequency response; the microphones built with it are "workhorses" for all kinds of recording. Examples would include the C 414-EB, C 414-B P48, C 414-B TL, C 414 B-ULS and (currently) the C 414 B-XLS.

During the mid-1980s AKG introduced a substitute for their original CK 12 capsule, for which they use the same name even though no one outside the company considers it to be really similar-sounding. It can be distinguished from the second (linear) type of capsule by its elevated high-frequency response. Microphones made with this type of capsule are often used in studios for close-up vocals. Examples would include the C 414 TL-II, the C 12 VR and (currently) the C 414 B XL-II. Some people here seem to like these brighter-sounding microphones for overall recording. It's not what I would prefer or recommend, but I can understand that preference as a matter of personal taste.

AKG has also introduced a cardioid-only model C 214, which they originally claimed would have the same sound as the vocal version of the multi-pattern series ... but in reality, it doesn't. (It looks fairly similar, though.)

--best regards

[darby]

having owned the XLS and using, but not owning the ULS... I found their sounds to be different
I'm surprised to hear that they used the same capsule types 

[NOLAfishwater]

ULS - card, hyper, omni, fig 8

XLS - card, hyper, subcard, omni, fig 8

XLII- card, hyper, subcard, omni, fig 8

FAMILY TREE

Because there are many members of the 414 family (almost all of which are still in use somewhere), I'll provide a brief history here regarding the AKG C 414 lineage. The basic C 414 B evolved from the company's venerated C 12 tube mic as the company adopted a smaller tube with the C 12A (1962), solid-state electronics with the C 414 comb (1971), XLR connectors with the C 414 EB (1976), and phantom-power-optimized circuitry with the C 414 EB-P48 (1980).

The transformer-coupled C 414 B-ULS (1986) came next, and the C 414 B-TL II followed in 1993. The TL II microphone combined the original C 12's high-frequency response with a transformerless output stage that would ensure a flat response at all frequencies below approximately 4 kHz.

The latest C 414 mics offer more flexibility, providing an extra polar pattern and electronic switching for pattern, pad, and rolloff selection. According to AKG, an optional R 414 remote control to switch all parameters will be available by the end of 2004. The company has integrated a capsule shockmount as well. (As with most condensers, in previous C 414s the transducer was fastened directly to the chassis.) Also included are overload and status indicators and a positioning detector that causes the LED indicator to dim as a sound source moves off axis.

The new mics feel identical to the ULS and TL II (subtly rounded corners soften the C 414's angularity a bit). On the cardioid address side, the XL II inherits the TL II's gold mesh screen while the XLS features the silver of the ULS. (Both mics' screens are black on the rear or omni side, where the pad and rolloff switches reside.)

[macdaddy]

so what is in the c422..?

[DSatz]

darby, the amplifier circuitry in a condenser microphone doesn't have to be neutral sonically; that's entirely up to the manufacturer. Different models based on the same capsule may differ audibly as a result.

A cardinal example would be the Neumann U 67 (tube circuit, 1960) versus U 87 (FET circuit, 1968). The capsule used in both models has a prominent response rise at high frequencies. The U 67's amplifier had a rolloff that was designed by ear to tailor this response without quite making it flat. For the U 87 this rolloff was then reduced by several dB--thus weighting its overall balance more toward the "hi-fi" side and away from the "warm, vintage" side.

Since Neumann didn't publicize this response difference when the U 87 was introduced, many people who heard the new mike drew mistaken conclusions about "tube sound" vs. "transistor sound" in general--but that's a whole other story.

Another example would be Sennheiser's MKH-series microphones, at least the directional models. The response of their capsules isn't as flat and extended as what you see in the spec sheets, but corrective equalization is designed into the amplifier circuitry. Knowing these facts of life about microphones makes it a little ironic that so many recordists are so hyper-puristic about never using EQ to sweeten their recordings. Little do they realize what is inside some of their microphones, I guess. (In general, if a microphone has physically interchangeable capsules it won't use this approach, for obvious reasons.)

Back to the subject at hand, a few years ago I sent a pair of C 414-B ULS microphones to Jim Williams to modify. He converted their output circuitry to transformerless operation and, without his adding any equalizing circuitry, this increased their high frequency response by about 2 dB at 10 kHz and reduced their noise by 4 dB as I recall. The new version of AKG's circuit seems to go in a similar direction.

I can't think of any instance of a manufacturer introducing a new model of any sound equipment that had less high-frequency response than its predecessor. They always want there to be more, because that will make the new model sound as if it has higher "resolution." ("I can hear details in this recording that I didn't even realize were there before!" is the classic remark.)

Whether it sounds better in relation to reality is a different matter, but in a dealer's showroom (or a "shootout") reality is the one thing which is almost never there. That unfortunately drives our recording technology steadily toward more and more hype, unless people refuse to accept it. (End of sermon ...)

--best regards

P.S.: macdaddy, AKG's large-diaphragm stereo and quad mikes have all used the so-called "CK 12" capsules (except for the original C 24 and the Telefunken Ela M 270, which used the genuine article).

[ghellquist]

AKG has also introduced a cardioid-only model C 214, which they originally claimed would have the same sound as the vocal version of the multi-pattern series ... but in reality, it doesn't. (It looks fairly similar, though.)

A small tidbit of info. It sure looks similar and is sold as a cardioid only version. The thruth is that the technology is a bit different, the C214 uses a back electret, more similar to the C2000 / C3000. Not a bad thing necessarily, but I do not like the marketing.

Gunnar

[tgakidis]

so what is in the c422..?

c422 is a stereo microphone with two coincident capsules, one on top of the other.  The bottom can be rotated 45 dgrees and I beleive the top can be rotated 120 dgrees.  It has a pattern box with allows you 9 different ploar patterns ie: Omini, Cardiod and Figure 8 with 6 other patterns in between.  I have the c426b which is the "newer model" and the c34 is the orginal of the line of microphones, I believe, all of which are no longer produced and some what rare and pricey.

c34: http://www.akg.com/site/products/powerslave,id,514,pid,514,nodeid,2,_language,EN.html

c422: http://www.akg.com/site/products/powerslave,id,522,pid,522,nodeid,2,_language,EN.html

c426b: http://www.akg.com/site/products/powerslave,id,216,pid,216,nodeid,2,_language,EN.html