We are all familiar with the legendary AKG C 414 microphone and all of its incarnations. Actually, that statement may be incorrect. I currently specialize in live sound reinforcement, but all of my C 414 use was during my studio engineering days.
Okay, let me just say that if you are familiar with the AKG C 414 microphone, you will really love the AKG C 214 mic. For that matter, even if you have never heard of the C 414, you will love the C 214. Confused yet? The only reason I mention the C 414 is because inevitably the C 214 will be compared to this iconic mic. However, the C 214 is its own microphone, newly designed by AKG to perform equally as well in the live sound world and recording studios.
The Gear
AKG microphones have been designed, engineered and built in Vienna, Austria for more than 60 years. AKG manufactures dozens of fantastic sounding microphones along with buckets of personal and pro audio gear. When designing a new microphone, AKG has the advantage of being able to draw on their long history of knowledge and success. So here is what they are offering: the C 214 is a handsome and rugged large diaphragm (1 inch capsule) side-fire condenser microphone. The capsule is mounted on an integrated suspension and housed in a double mesh grille. This design should give the mic a high RF immunity without impacting on its performance. The mic hears in only one pickup pattern (cardioid). It also sports a 20 dB pad and a low cut filter switched at 160 Hz, cutting the bass by 6 dB per octave. The frequency response is 20 Hz to 20 kHz (could you expect anything less?) and has a signal-to-noise ratio of 81dB. The mic is 6.3 inches long by 2.2 inches wide and about 1.5 inches thick. The microphone weighs in at .62 pounds, has an incredible dynamic range of 123 dB [with no pad and 143 dB with -20dB pad engaged] and can handle an SPL of 136 dB [and an incredible 156 dB with -20dB pad]. (Which is so bloody loud that I just can't comment on it. My personal pain threshold is about 120 dB.)
Anyway, the most exciting thing about this review is that I got a Computer-Matched Stereo Pair. I have never had computer-matched stereo anything. The only thing hotter than getting two matched mics would be getting stereo-matched girlfriends!
On a more serious note, matched stereo mics are wonderful to use in a recording studio, but I have never had a pair to use at a live sound show. So I really was excited to hear these mics live. Along with the C 214 microphones, I got two super-cool H 85 shock mounts (two regular mic clips) and two W 214 foam windscreens. It all came in a tough, high quality carrying case. So there you have the package. How about we check out the live shows?
The Gigs
I would like to start this part of my review with a simple disclaimer. I wanted to use the AKG mics at many more shows, but I had a quick turnaround, so I was only able to test the C 214s at two events. The only reason I mention this is because the mics are designed to be used on at least a dozen different instruments, and I only checked out three. That said, here we go.
My first outing with the microphones was a little jazz gig with a four-piece band. I decided to use the AKGs as my overhead mics (stereo, of course). My drum kit was made up of a kick drum, snare, one rack tom, one floor tom, a high hat and three cymbals. I put a mic on the kick and snare and used the C 214s for everything else. I decided on the regular mic clips rather than the shock mounts, and I also engaged the low cut filter.
The show began and the mics sounded absolutely transparent. I love that description, because to me it means that the sound passes through the microphone without any additional color. And that is exactly how the C 214s responded. I was getting a very good tom sound through the AKGs considering that I was not close-miking the toms. Anyway, during the band's break, I turned off the low cut filter. That was a wonderful improvement! Still transparent, but with the added low end, I was getting a tom sound with just a little more body. Anyway, it was really nice and made the show even more fun for me (and, I am sure, the audience as well).
My next show with the mics was an acoustic duo. One of the players used an amp for their acoustic guitar, and the other plugged into a direct box. I put one of the C 214s (in the shock mount) on the amp, and the other I used for the lead vocalist. I did use the low-cut filter on the amp, and the mic performed perfectly. The only issue I had was that I really didn't like the sound of the amp. But if the microphone is truly transparent, then it will take that lousy amp sound and just amplify it. And that is exactly what it did.
Now the vocalist was another story. She had a beautiful voice, and the AKG mic reproduced it perfectly. Clarity and definition are the words I decided to use when describing this application of the C 214. Or I could just say it was sweet, because it was. The only thing else I can say about these two mics is that they are inexpensive. Or maybe just a great value for the price, or possibly worth the investment. Anyway, you get the point. The C 214 is another quality microphone from AKG.
AKG C 214
What it is: Large diaphragm condenser mic.
Who it's for: Sound companies and recording studios
Pros: Inexpensive, rugged, high quality and handsome
Cons: I didn't find any
How Much: C214: $649 (MSRP); $499 (MAP); C214 ST: $1,249 (MSRP
