Review: AKG C214

The latest release from AKG’s lauded microphone stable is the C214 side-address condenser. Adding its name to a (lengthy) string of classic microphones that date back to1953 (when the legendary C12 valve microphone was first introduced), the C214 has quite a reputation to uphold. Designed, engineered and built in Vienna, the fixed-cardioid pattern C214 is intended as a cost-effective alternative to the C-414 while still offering large diaphragm performance, wide dynamic range, rugged construction and a sound similar to that of the C-414 B-XLS. The AKG C-414 with its myriad suffixes and variations, is in turn, a direct descendant of the C12A, which was the first mic in the AKG lineage to sport the highly recognisable faceted body styling. [For a brief history of AKG’s ‘C’-Series range see the timeline (right)].

ENCAPSULATING THE HISTORY

As with any microphone, the capsule is the all-important heart of the device. Arguably one of the most revered and famous capsule designs is the precision built AKG ‘brass ring’ CK12, found in the valve C12 microphone and later C12A(&B) models, which also incorporated the metal cased Nuvistor valve. For commercial and export reasons the CK12 was also used in the Elam/Telefunken M250 and M251 microphones but with different valves and electronics. The ‘brass ring’ CK12 was later replaced by a different sounding nylon version that was cheaper to produce. AKG later designed yet another capsule that tried to emulate the original ‘brass ring’ sound, and this version was used in the C-414 B-TLII and C12VR microphones that were released in the early ’90s.

NOT THE GOLDEN RING

While researching this review, I came across a brochure supplied by AKG which states about the new microphone: “Because the C214 uses the same one-inch diaphragm as the C-414, the essence of that heralded C-414 sound has been captured in this newest model.” This is not strictly correct. While the C-414 uses a DC-polarised capsule, the C214 uses an electret capsule that is technically closer to those found in the AKG C3000 and C4000 microphones. The C214’s capsule is, in fact, only one half of a 414 capsule, with the addition of the “patented back-plate” which turns the combination into an electret capsule. As a result, the C214 has a higher noise floor – at 13dBA – when compared to the C-414’s significantly lower 6dBA. There’s nothing wrong with modern electret condenser microphones of course, except for this higher noise floor. [See the box item (right) for a brief, but not overly technical, explanation on the differences between the two capsules.]

C FOR CONSTRUCTION

Like all previous AKG ‘C’-series mics, the C214 is a solidly built microphone, constructed from a scratch resistant, die-cast metal body that will likely withstand the rigours of whatever life throws at it – either in the studio or on the road. The sturdy double-mesh grille surrounding and protecting the capsule is simultaneously designed for high RF rejection, plosive control and acoustic transparency. While the mic isn’t the most ‘sensitive’ large diaphragm on the market when confronted with plosives from a vocalist, a pop shield is still mandatory on any recording session. The capsule itself also has an integrated suspension system to help reduce transmitted mechanical noise from the stand that supports it. The low frequency roll-off switch located on the right side of the mic provides a relatively gentle 6dB per-octave slope at 160Hz, while the pad switch on the left allows for 20dB signal attenuation in high-SPL sound fields.

To combat the confusion often experienced by first-time users of C-414s, the ‘front’ of the C214 is signposted with the new AKG logo and silver grille, with the rear grille coloured black; you’d have to flip it around to see the logo for that all-important video shot – á la Lenny Kravitz and his Neumann! The XLR connector is gold plated and the C214 comes complete with a foam windsock, a plastic spider-type shock mount, a camera style metal carry case and an instruction booklet.