AKG C-414 B-ULS Large Diaphragm Condensor Mic.
The C-414 review
The real performance of a microphone comes to show when using EQ and compression to shape sounds creatively and in this situation the B-ULS is a winner. Not just over the new versions of this mic but also over most other large diaphragm mics that have been released recently. There is a real benefit to have such a reliable mic in the collection, which can be put onto anything and will give you the right frequencies to work with all the way through to the mastering stage. It’s not an eccentric or expensive microphone that has to be driven through that special preamp. It’s the best plug-and-play mic, I suppose, and it always finds its way into the test-array in front of the instrument.
My stereo pair of the C-414 B-ULS microphone, purchased as the last Brand-New-In-Box ones in Britain and still being sealed then, are the discontinued predecessors to the latest models. They feature four switchable polar patterns (omni, cardioid, hyper cardioid and figure of eight) as well as a switchable low-cut at 75 and 150 Hertz. The AKG C-414 is a famous microphone, which has proofed invaluable to many recording engineers and sessions, because the microphone is such a reliable work horse on large sessions as well as a gem and preferred choice in certain situations.
Since its first production in the 70ies as C414 EB many different versions have been released. Today’s latest models being the C-414 B-XLS and B-XL II. Ever since the new version came out, which features a ‘presence’ boost at around 13k, engineer’s have debated over the question whether the new or older version is better. My personal opinion is that the older B-ULS produces more depth in the sound and is better to handle in the mix. Way better, actually. Arguably, the new development is not as good when used in music production.
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