Now, I make no bones about the fact that I am an AKG fan.
For whatever reason, I find that AKG deliver results when I’m in the studio, time after time. I’m fortunate to have picked up some lovely AKG’s over the years, including a Telefunken Elam 251 (made by AKG, and utilizing the amazing C12 brass capsule), and AKG (Philips badged) C12A (which sounds as good as any C12 I’ve ever owned), a bunch of early’/middle/late C414’s, some C451E’s, D19’s, D202’s and many more. I even have an unused pair of gold plated 50th anniversary limited edition C414EB’s and the latest silver plated limited edition C414X-ULS.
The secret’s out. I’m a sucker for AKG mics.
Even in their latest incarnation, the C414 remains my first choice for a variety of recording applications. Forget clumpy, characterless Chinese clones (good value if they’re cheap, cheap, cheap but tacky in the extreme if they assume pretensions to have class).
Not for me the new wave of brightly coloured boutique lollipops (made for the mantelpiece, methinks, not the studio) and you can forget all your high end vintage replicas. If you want the original, then buy the original. Nothing will come close to a real C12 or U47 tube.
AKG have been designing and making mics since the dust was settling on the ruins of Vienna after the second world war. Their first mic was swapped for a leg of ham to feed the workers. And the tradition of today’s AKG’s stretches back years. This is not a company to bow to the demands of fashions The C12 (and now the C12VR), the various C414’s and C451’s are tried and tested in thousands upon thousands of studios and recording sessions over the years. Most of the great recordings that you snuggle up to at night were made using AKG’s. So the new kids on the block think they can improve on that sound, do they? Well just LISTEN to today’s records. Therein lies the answer. I’ve been recording, managing producers and putting together studios since the days of Harold Wilson and President L.B. Johnson, and I can honestly say the standards of recordings have never been lower. Modern records may be glossy and they may be note perfect (thanks to digital editing) but the SOUND…more often than not, it just isn’t there, and if it ain’t there, no amount of furgling in Protools is going to salvage the tracks.
Good tracking is a combination of technique, time, the acoustic of your room and your choice of mics. AKG deliver time after time after time, which is why there isn’t a major studio in the world without at least half a dozen in the cupboard. And at today’s prices, there’s no excuse for not having the best at hand. Eccentric