The C314 condenser microphone builds on the one-inch capsule of AKG’s top-of-the-line C414 XLS and features four switchable polar patterns via onboard recessed toggle switches. I found these switches easy to operate with no need of a special tool or connection to phantom power for their operation. There are also switches for the -20dB attenuator pad and a bass-cut filter—a necessary feature to reduce the proximity effect when placed close to vocals and acoustic guitars.
I found using the C314 exactly like using the AKG C414B-XLII. A quick comparison revealed that the C314 has a warmer sound compared to the $1,200 C414B-XLII. This thicker sound offers a richer sound for vocalists who tend towards shrillness when singing loudly. Using the C314 for drum overheads, on guitar cabinets or acoustic guitars, for choir recordings are all excellent applications.
The C314 comes with a fully professional accessory kit including: an all-metal carrying case, H85 spider shock mount, the simpler SA60 clip and the W214 foam windscreen.
The C314 sells for $699.
Barry Rudolph is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com