REVIEW AKG C414 LDC MICROPHONE: The Legacy and Evolution

My first two C414B-ULS, Click to enlarge

The AKG C414 is a legendary large-diaphragm condenser microphone, renowned for its versatility, clarity, and presence in studios worldwide since its introduction in 1971. With a lineage tracing back to the iconic C12, the C414 series has evolved through numerous iterations, each leaving a distinct mark on recording history. This review covers the microphone’s history, key models (with special focus on pre-414B-ULS and the 414B-ULS), post-B-ULS models, transformer vs. transformerless designs, directional pickup patterns, frequency responses, and reflections on its legacy, including user sentiments and the shift to Chinese manufacturing under Samsung’s ownership of Harman. The 414B-ULS was the first large diaphragm microphone I ever owned, I've still got it along with three others I bought because I liked the first one so much. Let's dig into this and see what makes this mic epic.

Vintage 414 with grilles removed, Click to enlarge

History of AKG: From Austria to Samsung Ownership

Founding and Early Years (1947–1980s):

AKG Acoustics (Akustische und Kino-Geräte Gesellschaft m.b.H., or Acoustic and Cinema Equipment L.L.C.) was founded in 1947 in Vienna, Austria, by physicist Rudolf Görike and engineer Ernst Pless. Initially focused on cinema equipment like loudspeakers and projectors, AKG soon pivoted to audio products. In 1949, they introduced the K120 DYN headphone, followed by the groundbreaking CK12 capsule in 1953, which powered the C12 tube microphone—a studio staple for its bright, clear high frequency reproduction. The C12’s multi-pattern capability set the stage for the C414’s versatility. Through the 1960s and 1970s, AKG solidified its reputation with innovations like the C412, a solid-state precursor to the C414 (which is also solid state), and became a go-to for studios, broadcasters (e.g., the BBC), and artists like The Beatles.

Growth and Acquisition by Harman (1990s–2016):

In 1994, AKG was acquired by Harman International Industries, a U.S.-based audio conglomerate, marking a shift from independent Austrian ownership. Harman invested in AKG’s product lines, expanding its professional and consumer offerings, including headphones and wireless systems. The C414 remained a flagship product, with models like the B-ULS gaining widespread acclaim. However, by the mid-2010s, cost pressures and globalization began reshaping AKG’s operations.

Samsung Acquires Harman (2017):

In March 2017, Samsung Electronics acquired Harman International for $8 billion, bringing AKG under its umbrella. Samsung aimed to leverage Harman’s audio expertise for consumer electronics, notably integrating AKG-tuned headphones and speakers into Galaxy devices (e.g., Galaxy S8, S9). This acquisition shifted AKG’s strategic focus toward consumer markets, though professional products like the C414 continued production.

Shutting Down Austrian Manufacturing (2017):

In 2016, Harman announced the closure of AKG’s Vienna facilities, including headquarters, manufacturing, and engineering, with operations ceasing by May 31, 2017. The move was driven by cost-cutting and consolidation, with production transferred to Harman’s facilities in Hungary and China. This decision sparked backlash among audio professionals, who valued AKG’s Austrian craftsmanship. Many former AKG engineers, unwilling to relocate, founded Austrian Audio in 2017, continuing the legacy of Viennese microphone design with products like the OC818. The shift to Chinese manufacturing raised concerns about quality control, though AKG maintains that modern C414s meet historical standards. Authors note: Many Chinese manufactured microphones have extreme brilliance with response rising at 10kHz on up out of range, this is what accounts for a sonic character often attributed to low priced mics from China, but modern 414 models have maintained top tier prices in spite of adopting this sonic footprint, at least that's what my ears are telling me. 

Current State (2025):

Under Samsung/Harman, AKG operates from California, focusing on microphones, headphones, and wireless systems. While Chinese manufacturing has reduced costs, some users perceive a loss of the “handmade” aura associated with Austrian-built models. Nonetheless, the C414 XLS and XLII remain studio staples, and AKG’s legacy endures through its storied history and ongoing innovation.

Click to enlarge

Models of Special Interest

Pre-414B-ULS Models (1971–1986)

1. C414 (1971):  
• Overview: Launched as a solid-state successor to the C12, the original C414 used the CK12 brass capsule, known for its airy, sparkling high end and clean midrange. It was a FET-based design, smaller than the C12, and targeted studios needing versatility.  
• Directional Pickup Patterns: Four patterns (omnidirectional, cardioid, hypercardioid, figure-8), selectable via a switch.  
• Frequency Response: 20 Hz–20 kHz, with a bright, extended high end (gentle boost around 5–10 kHz) and smooth mids. The CK12 capsule delivered a clear, detailed sound, ideal for vocals and acoustic instruments.  
• Output Transformer: Yes, contributing to a warm, slightly colored output.  
• Notable Use: Used by Geoff Emerick at Abbey Road for Paul McCartney’s bass guitar. Its incisive top end made it a favorite for acoustic guitar and vocals.  
• User Sentiment: Revered for its “vintage” sound, many consider it the pinnacle of C414 models due to the CK12 capsule’s clarity and airiness. However, the brass capsule was complex (120+ parts) and costly to produce. 
• Chuck Berry had several of these C414 models in his St. Louis-area, based recording studio during the 1970’s. In 1986, while making “Hail Hail Rock n Roll”, the movie, I asked him what happened to them, he looked at me and said “stolen, all stolen”. 
2. C414 EB (1976):  
• Overview: The “Extended Bass” model improved low-end response and added a 2-position pad (-10 dB, -20 dB) and a 3-position low roll-off switch. Early units used the CK12 brass capsule, but by the late 1970s, AKG transitioned to a simpler nylon-ring capsule (2072-Z-0005), which was darker and less airy.  
• Directional Pickup Patterns: Four patterns (omni, cardioid, hypercardioid, figure-8).  
• Frequency Response: 20 Hz–20 kHz, with a slight high-mid dip (2–5 kHz) in later nylon-capsule units and a gentle boost above 5 kHz. The CK12-equipped versions retained the brighter, airier profile.  
• Output Transformer: Yes, adding subtle warmth and saturation, especially on transients.  
• Notable Use: Used by Queen for “One Vision” and Tom Waits for Mule Variations (piano). Its warm, rich tones suited vocals and instruments.  
• User Sentiment: CK12-equipped EBs are highly prized for their vintage charm, but nylon-capsule versions are seen as less desirable, with a darker, less open sound.
3. C414 EB-P48 (1980):  
• Overview: A minor update to standardize 48V phantom power, replacing variable phantom power. It featured higher sensitivity and impedance but was otherwise similar to the C414 EB. The nylon capsule was standard by this point.  
• Directional Pickup Patterns: Four patterns (omni, cardioid, hypercardioid, figure-8).  
• Frequency Response: 20 Hz–20 kHz, similar to the later C414 EB with a darker, less bright profile due to the nylon capsule.  
• Output Transformer: Yes, maintaining the warm, colored sound.  
• User Sentiment: Seen as a transitional model, valued for its transformer warmth but less coveted than CK12-equipped predecessors.

P-48 Click to enlarge

C414B-ULS (1986–2004)

• Overview: The “Ultra Linear Series” was a major redesign, introducing extra gain stages to lower the noise floor (self-noise reduced to ~14 dBA) and a matte black finish. It used the nylon 2072-Z-0005 capsule, resulting in a darker, warmer sound compared to CK12-based models. The transformer remained, adding a “woody,” slightly saturated character, especially on drums and guitars. The B-ULS became AKG’s best-selling C414, a studio workhorse for its reliability and versatility. I own four of these, reflecting their enduring popularity.  
• Directional Pickup Patterns: Four patterns (omnidirectional, cardioid, hypercardioid, figure-8), selectable via a mechanical switch.  
• Frequency Response: 20 Hz–20 kHz, with a flat response up to 1 kHz, a dip in the high mids (2–5 kHz), and a gentle boost from 5–15 kHz. This creates a warm, slightly veiled sound, described as “murky” or “woody” but pleasing for drums, toms, and vocals.  
• Output Transformer: Yes, contributing to its characteristic warmth and subtle saturation, especially on transients like cymbals or guitar amps.  
• Notable Use: Used by Liam Gallagher for Oasis’ Definitely Maybe (vocals), Bruno Mars for Unorthodox Jukebox (vocals), and Charli D’Amelio for content creation. Its versatility shone on vocals, acoustic guitar, drum overheads, and bass amps.  
• User Sentiment: The B-ULS is divisive. Fans, (including me), praise its clear sound and reliability, calling it a “smooth operator” for studio work. Critics argue it lacks the airy brilliance of CK12-based models, with some decrying its “foul lack of warmth” compared to vintage EBs. Its affordability (often $600–$800 used) and durability make it a favorite for professionals like Stuart Epps, who used it for Bill Wyman and Gary Brooker.  Two of my 414B-ULS came through eBay from a studio in Nashville — closed in 1995, going out of business — which claimed to be used frequently by Garth Brooks early in his career. 

Two 414B-ULS, Click to enlarge

Post-C414B-ULS Models (1993–Present)

1. C414B-TL (1990s, Short-Lived):  
• Overview: A transformerless version of the B-ULS, designed for higher SPL handling (up to 140 dB) and a drier, more clinical sound. It retained the nylon capsule, making it darker like the B-ULS but without the transformer’s warmth.  
• Directional Pickup Patterns: Four patterns (omni, cardioid, hypercardioid, figure-8).  
• Frequency Response: 20 Hz–20 kHz, similar to the B-ULS but slightly flatter due to the transformerless design, reducing saturation.  
• Transformerless: Yes, resulting in a cleaner, less colored sound, criticized by some as “sterile, shrill or piercing.”  
• User Sentiment: Less popular than the B-ULS, seen as a niche model for high-SPL sources but lacking the character and smoothness of transformer-coupled  models.  
2. C414B-TLII (1993):  
• Overview: Introduced a new capsule (2072-Z-0009) to emulate the CK12’s brighter, airier sound, addressing complaints about the B-ULS’s darkness. Marketed for vocals, drum overheads, and acoustic instruments, it featured a gold grille. It was transformerless, emphasizing clarity over warmth.  
• Directional Pickup Patterns: Four patterns (omni, cardioid, hypercardioid, figure-8).  
• Frequency Response: 20 Hz–20 kHz, with a boosted high end (4–10 kHz) for a brighter, more open sound, though some called it “too bright.”  
• Transformerless: Yes, delivering a clean, fast response but lacking the transformer’s saturation.  
• User Sentiment: Polarizing—loved by those seeking a modern, vocal-focused mic (e.g., Chris Martin of Coldplay), but others found it overly bright compared to the B-ULS’s smoothness.  
3. C414B-XLS and C414B-XLII (2004):  
• Overview: AKG split the C414 into two lines: the XLS (neutral, B-ULS-inspired, silver grille) and XLII (brighter, TLII-inspired, gold grille). Both used transformerless designs, surface-mount components, and added a fifth polar pattern (wide cardioid). The XLS aimed for linearity, while the XLII had a 3 kHz presence boost for vocals.  
• Directional Pickup Patterns: Five patterns (omni, wide cardioid, cardioid, hypercardioid, figure-8).  
• Frequency Response:  
• XLS: 20 Hz–20 kHz, flat up to 1 kHz, slight dip at 2–5 kHz, gentle boost at 5–15 kHz. Neutral and versatile.  
• XLII: 20 Hz–20 kHz, with a boost above 3 kHz, emphasizing vocal clarity and airiness.  
• Transformerless: Yes, both models prioritize extremely low noise (6 dBA) and high SPL (158 dB with pads).  
• User Sentiment: The XLS is praised for its versatility, used by Cam Holmes and Ben Murphy for vocals and guitar cabs. The XLII is favored for vocals (e.g., Coldplay’s Viva La Vida) but criticized for a “harsh” top end by some.  A friend of mine bought an XLS because he heard the B-ULS in my studio, we did numerous A - B listening tests and recorded comparisons. We finally decided neither of us cared for either model on vocals but the B-ULS sounded amazing on cymbals,  acoustic guitar and bass amp recordings. 
4. C414 XLS and C414 XLII (2009–Present):  
• Overview: Updated versions of the B-XLS/XLII, adding four more polar patterns (nine total) via electronic switches, lockable controls, and a peak-hold LED. The XLS remains the neutral, all-purpose mic, while the XLII targets vocals with its high-end lift. Both are made in Hungary or China post-2017.  
• Directional Pickup Patterns: Nine patterns (omni, wide cardioid, cardioid, hypercardioid, figure-8, and four intermediate settings), offering unmatched flexibility.  
• Frequency Response:  
• XLS: 20 Hz–20 kHz, flat and linear, with a slight high-mid dip and subtle boost above 5 kHz.  
• XLII: 20 Hz–20 kHz, with a presence boost above 3 kHz for vocal clarity.  
• Transformerless: Yes, emphasizing clarity, super low noise (6 dBA), and high dynamic range.  
• Notable Use: Used by Adam Young (Owl City), Matt Helders (Arctic Monkeys), and Jacob Collier for drums, vocals, and piano.  
• User Sentiment: Both are lauded for versatility and modern features, with the XLS seen as a B-ULS successor and the XLII as a vocal specialist. Some lament the loss of transformer warmth and Austrian craftsmanship, but others, like Cam Holmes, find them “sleek” and experimental.  Personally, I’ve never cared for the pattern switch and I don’t like LED’s on microphones, they’re a distraction for vocalists. 

C414B-ULS, Click to enlarge

LIKES AND DISLIKES: Transformer vs. Transformerless Models

• Transformer Models (C414, C414 EB, C414 EB-P48, C414B-ULS):  
• Sound Characteristics: Transformers add subtle harmonic distortion and saturation, creating a warm, slightly colored sound. The B-ULS, for example, imparts a “woody” or “meaty” quality, ideal for drums and guitars, as its transformer smooths transients and adds weight.  
• Advantages: Provides a vintage, analog vibe; excels on sources needing warmth (e.g., vocals, toms). The transformer’s saturation enhances perceived “character.”  
• Disadvantages: Slightly higher noise floor (e.g., 14 dBA for B-ULS) and lower SPL handling compared to transformerless designs.  
• Models: All pre-1990s C414s and the B-ULS. The transformer was a key part of their sound until the B-TL.  
• Transformerless Models (C414B-TL, C414B-TLII, C414B-XLS/XLII, C414 XLS/XLII):  
• Sound Characteristics: Cleaner, more transparent, and clinical, with less harmonic coloration. The TLII and XLII emphasize high-end clarity, while the XLS remains neutral. Transformerless designs handle higher SPLs (up to 158 dB) and have lower self-noise (6 dBA in modern models).  
• Advantages: Ideal for digital recording, where low noise and high fidelity are critical. Suits vocals and detailed instruments (e.g., strings, acoustic guitar).  
• Disadvantages: Can sound “sterile” or “harsh” (especially the TLII/XLII) to those accustomed to transformer warmth. Lacks the analog “glue” of earlier models.  
• Models: All post-B-ULS models, starting with the B-TL in the early 1990s.  

EPILOGUE:  C414 Stories and Sentiments

The AKG C414 is more than a microphone—it’s a cultural artifact, steeped in studio lore and divisive opinions. Its evolution reflects the tension between tradition and modernization, craftsmanship and cost-efficiency.

• Oldest Models (C414, C414 EB with CK12): Purists argue that only the original C414 and early EB with the brass CK12 capsule are “worthy,” citing their airy, sparkling high end and smooth mids. These mics, used at Abbey Road and by Queen, are collector’s items, with CK12-equipped units fetching high prices on Reverb and eBay. Their complexity (120+ capsule parts) and handcrafted Austrian origins add to their mystique. However, their scarcity and repair challenges (CK12 production ended in the 1970s) make them impractical for some.
• C414B-ULS: Love and Loathing: My own personal collection of four B-ULS mics places me among its devotees, who praise its smooth frequency response, versatility and rugged reliability. Professionals like Stuart Epps and engineer Manny Marroquin have lauded its performance on vocals, guitars, and drums, with its transformer adding a “meaty” quality. Detractors call it “murky” or “veiled,” missing the CK12’s brilliance. Its affordability and durability make it a studio staple (my personal collection of four B-ULS mics are used looking but they are still working and sound beautiful after decades, originally purchased in 1994 and 1997).
• Modern C414s and Chinese Manufacturing: The shift to Chinese production post-2017 has sparked debate. Some, like those on Gear Space, lament the loss of Austrian craftsmanship, noting that “AKG’s soul” left with the Vienna closure. Others find the XLS and XLII “super-clean” and “crispy,” appreciating their low noise and nine polar patterns. AKG insists quality remains high, with rigorous testing in modern facilities. The XLS, in particular, is seen as a worthy B-ULS successor, while the XLII’s vocal focus divides opinions—some love its clarity, others find it too bright.
• Anecdotes and Legacy: Stories abound—Stuart Epps’ battered B-ULS, used by Bill Wyman, still delivers “warmth” despite smoke and wear. A rookie engineer in the 1980s swapped a U87 for a C414 on vocals, shocking his boss but proving its worth. From Oasis to Coldplay, the C414 has captured iconic recordings, its versatility enabling techniques like mid-side and Blumlein. Whether vintage or modern, it remains a “desert island” mic for many recording producers.

Click to enlarge

Conclusion: The C414’s journey from Vienna’s workshops to Chinese factories mirrors the audio industry’s evolution. My personal B-ULS mics embody its workhorse era—warm, reliable, and battle-tested. While purists chase CK12 magic and modernists embrace the XLS/XLII’s clarity, the C414’s legacy is its adaptability. It’s a mic that doesn’t just capture sound—it shapes it, carrying decades of stories in every recording.

Thanks for reading High on Technology, Good Music To You!

©April 2025 by Mark King, It's not ok to copy or quote without written permission from the author.