to match or not to match? (mic akg 414)

iLogical

iLogical

a member member
i am considering getting a couple of mics of the same kind (akg 414). my dilemma is that i can get them both for £200 less if i don't get them as a mached pair.

so my question is really - how much difference does it really make? will i really regret not having identical stereo signals or will i go "meh. £200 here we come!"

cheers guys
 
hmm. i've often wondered about this myself.

i came to the conclusion that unless you really know how to use an acoustic space, and really really understand mic placement and what not, it's gona be a waste of money.

i could be wrong, but those were my thoughts.

i'd love to hear experienced opinions on this!

i'd probably pay the money if matched pairing was offered on mics that are known to have bad q.control, like oktava mk219s or something, but that's only cos i know in advance there's a good chance that two of them won't even be close!
 
yeah i'm not exactly the kind of person who is going to be bothered by really subtle differences in mics. any one else got an opinion on this?

i think i'm leaning towards the unmatched at the moment.

also anyone got an opinion on the mic itself?
 
There are a few considerations I would make in this situation:

(01) Quality control and general consistency in the particular mic model (as has been mentioned). I've only dealt with a handful of AKG 414's in my life, so I may not be the best person to give advice. But in my experience, they were basically interchangeable to my ears (none of them were matched sets).

(02) Resale. If you choose to sell the mics down the road, you run into some complications with the matched pair. As a set, they will hold more value used. However, they will also be more difficult to sell because of increased cost (a lot of buyers might not agree with increased value in the matched pair, even if they want them both). On top of that, splitting them up might actually reduce their value in the event that you have one case for both mics or something.

I would probably just go for the unmatched set myself. Again, I may not be the best person to take advice from on this particular matter.
 
on the mic itself, i've found it to be great. useful on damn near anything.
very detailed and clear, and true to the source.

i've mostly used it on drum overheads, but also a few times on pianos.
 
ok that makes sense.

i will go for the unmatched.

WOW! what an easy thread :) normally it takes pages and the question still isn't answered.
 
Steenamaroo said:
don't speak to soon...

there could yet be a 'maroo and moseph are full of sh1t' reply :laughings:
Click to expand...
:laughings: Have you guys checked your dip sticks? :laughings: ~just joking around~

With a mid / side microphone configuration it wouldn't matter as much.....in fact they don't even have to be the same microphone.

I got the matching set of 414s so that if at any day in the future (and I don't see that coming) the resale value would be higher and as time passes factory matched combos are broken up and lost which makes a matched pair rarer and more expensive.
Mine are about 30ish? numbers different with the serial numbers, so they just don't grab 2 right off the line with consecutive numbers.

But my thoughts are what happens with age and maturity with these microphones do they drift apart or remain identical twins?






:cool:
 
moresound said:
But my thoughts are what happens with age and maturity with these microphones do they drift apart or remain identical twins?
Click to expand...

another thing i've often thought about.

my pair of 421s are early 60s. you could say they sounds similar, but not the same. they weren't matched or anything but still, they're different enough that one is labelled high tom, and the other low tom!:p

same with the 635a's that i have. i have sticky labels on them saying 'thin' or 'midrangy' or whatever so i know which is better for bottom snare, or guitar amp etc.

i'd guess that matched pairs are gona drift apart like any other.

that said.. presumable matched 414s aren't gona incur the same abuse that old ev mics or 421s might.
 
cheers guys.

what would u say to the 414 being used on violin or double bass?

if there is one (or both) that u think it would be bad for do u have any other preferences for those instruments?

(it's a duo so don't think big mix. it's more like a solo classical recording than anything else)
 
nearly any C414 can work in the situation you describe, but typically it would not be my first thought when approaching violin

though have recorded more then one bluegrass ensemble with a single C414 (well DI'd the bass or used SM57/MD421 on amp if doghouse was amp'd, if possible)

I've used a C414 in figure of 8, mismatched SDC, LDC modified M/S recording a bunch and in this situation it generally depends more on the room then the instrument as to how well it performs

But if I only had the 414's (one or two) I certainly would not hesitate to use them for a chamber music violin/bass recording . . . I might prefer K84s but think that to be a matter of subjective flavor rather then pure function. C414 was one of the first mikes after performance dynamics that I added to the locker and before I 'knew' better I used it effectively on a lot of acoustic guitar, mandolin, fiddle, accordion, banjo, jews harp, oud, bouzouki . . . first time i rejected it (in those early days) i ended up using an inexpensive (for the times) back electret sdc on a mandolin that I had initially tried a vintage LDC tube, migrated to the C414 with every confidence (after being surprised and disappointed by the tube for that particular situation) had my judgment shaken again . . . of course at that time I thought I already knew everything I need to know

of course there are different flavors of 414 and not all are created equal so caveat remains audition if possible
 
as always great to hear from u oretez :) thanks

any one else got an opinion on this?

also anyone have any thoughts on a beyer mc930 for violin?
 
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