AKG

Explore AKG vintage audio equipment in the Vintage Technology Archive.

Models

Effects Processor

BX-10 — AKG BX-10 two-channel spring reverb — 47 lbs, 1.5/2.5/3.5s decay per channel, built for mobile studios. Serviceable, repairable, and still useful.
BX-10E — AKG BX-10E portable two-channel spring reverb — Torsional Transmission Line, 1.5/2.5/3.5 sec decay, 17x12x19 in, $1,575 new.

Headphones

240-DF — AKG K240 DF diffused-field studio headphone, 600 ohm, developed to the IRT Munich monitoring standard. Little documented.
K-100 — The AKG K-100 is a little-documented AKG audio model; no specs, dates, or prices are currently recorded.
K-180 — AKG K-180 headphones (c.1971–74): dynamic stereo headset with adjustable transducers — a presence control changing perspective. 600 ohms, $69.
K-240 — AKG K-240 open-back studio headphones, 600-ohm original at $69.50 in 1976. Clean, honest monitoring sound that became a studio standard.
K-240-DF — AKG K-240 DF diffused-field studio headphones, developed to the IRT Munich monitoring standard; a period review measured a nearly constant 600-ohm impedance.
K-240M — AKG K-240M studio monitor headphone — 15 Hz–20,000 Hz, 4–600 ohm, $99–$120 list. The high-impedance K-240 variant built for consoles, not phones.
K-340 — AKG K-340 hybrid electrostatic/dynamic headphones, the Realworld Concert Hall design. 400 ohms, $249 in a 1992 Audio review; documentation is thin.
K-500 — Little is documented about the AKG K-500. From the trade press, it appears to have been an open-sounding monitoring headphone sold in the early 1990s

Microphone

224E — AKG 224E dynamic microphone — a close-miking workhorse trusted on snare and guitar amps in 1970s pro studios. No spec sheet survives; reputation rests on session credits.
240M — AKG 240M headphones — the studio workhorse AKG itself called an industry standard when it launched the K240 Studio. A fixture in pro rooms, often bundled free with outboard gear.
414EB — AKG 414EB large-diaphragm condenser — wedge grill, satin chrome body, 9–52V phantom tolerance, ~$650 used. A studio workhorse bought in pairs.
451-E — AKG 451-E small-diaphragm phantom condenser — 2.8 mA draw, CK-series capsules, period drum and chorus workhorse.
C 451 EB — AKG C 451 EB backelectret condenser mic — sparse record, but the service manual confirms cardioid pattern, 20Hz–20kHz, 9mV/Pa, 48V phantom.
C-12A — AKG C-12A large-diaphragm condenser — the ancestor AKG cited for 40 years, but with almost no documented specs of its own.
C-414EB — AKG C-414EB large-diaphragm condenser from the late 1970s — CK 12 capsule, internal DC-DC converter, and the model AKG's own ads called the studio standard.
C-451 — AKG C-451 modular condenser mic — 20 Hz–20 kHz, 9.5 mV/Pa, CK-series capsules, used at Stax and Larrabee. The studio workhorse that AKG tried to recreate in 2002.
D-12E — AKG D-12E cardioid dynamic mic — 40–17,000 Hz, 200 ohms, $100 in 1980. The bass-range workhorse AKG used as the benchmark for the D-112.
D-200E — AKG D-200E two-way cardioid dynamic mic, 30 Hz–15 kHz, 200 ohms, $69 original. Two capsules, 500-Hz crossover, patented design.

Microphones

190E — AKG D-190E — a little-documented cardioid dynamic microphone for speech or music, listed in period buyer's guides around 1981.
200E — AKG 200E is a little-documented audio model; the archive's period sources document the closely named D-200E cardioid dynamic microphone.
451-EB — AKG 451-EB preamp module for the CMS FET modular condenser mic system, announced in 1973 with bass roll-off switch; later the reference rig with CK1.
58-E — The AKG 58-E is a little-documented AKG audio model. No specs, prices, or production years survive in the record; only the brand, model.
C-60 — The AKG C-60 is a vacuum-tube condenser microphone made from 1960 through 1969, and the tube predecessor to the popular C451 and the later C460.
D-109 — AKG D-109 dynamic omni microphone, listed in period directories 1967–74. Known specs: 50–15,000 Hz, 200 ohms, −56 dB ASA. Little else documented.
D-19 — AKG D-19: early-1960s dynamic cardioid microphone. Period Audio reviews document 40–16,000 Hz response, bass-cut switch, and cardioid pickup.
D-190E — AKG D-190E cardioid dynamic mic for speech and music; listed with 30–15,000 Hz response, −52 dBm sensitivity, 200 ohms. Documentation is thin.
D-202E (1967–1980s) — The AKG D-202E is a two-way cardioid dynamic microphone with twin capsules and a crossover network, sold from the late 1960s into the 1980s and prized for drum and percussion work.
D-224E — AKG D-224E — Austrian two-way cardioid dynamic mic with separate high and low elements, prized for condenser-like natural response. Era dates contested; no independent test report.

Other Models

414S — AKG 414S large-diaphragm condenser — the super-present studio workhorse engineers EQ'd by a dB or two, not by the rack.
451S — AKG 451S modular condenser mic — bright, fast, a drum-room staple. Modular capsule system, phantom/AC/battery power. Original vs C451B reissue.
452S — AKG 452S small-diaphragm condenser — period session records place it on toms, snare, hi-hat and overheads; specs and production years undocumented.
460B — AKG C460B modular condenser preamp (1982), 5–30,000 Hz, 150 dB max SPL, $320 list — the digital-era workhorse of the C-450 system.
460S — The AKG 460S is a little-documented variant of AKG's ULS modular condenser family. Specs, period use, and where the record runs thin.
ADR-68K — AKG ADR-68K — Ursa Major-designed digital reverb, 16-bit sampler, and MIDI effects processor with 160-char LCD and software upgrade path.
C 12B — AKG C 12B tube condenser microphone — member of the C12 lineage cited by AKG as an ancestor of the C 414 series. Sparse documentation; collector interest driven by family reputation.
C 410 — AKG C 410 headset condenser mic — 30g, cardioid, 20-20k Hz, 123 dB SPL, four variants (phantom, /B9, WL/1, WL/2).
C 412 — AKG C 412 F.E.T. condenser mic — 1-inch twin-diaphragm capsule, pattern switch, 20 dB pad, C-451E power family. Sparse documentation.
C 414B — AKG C 414B studio condenser — dual 1-inch diaphragms, four patterns, 12.5 mV/Pa, 14 dB-A self-noise, ULS and TLII versions.
C 414comb — AKG C 414comb — the 1971 square-grille original that founded the C 414 condenser dynasty, per AKG's own manuals and Mix (Sept 2004).
C 414EB-P 48 — AKG C 414EB-P 48 large-diaphragm condenser mic — CK 12 capsule, 48V phantom power, four patterns, ~$575 street. Period review scores and comparisons.
C 460 B — AKG C 460 B modular condenser preamp — 15 dB noise floor, 140 dB SPL, CK61/CK62 ULS capsules, digital-era workhorse.
C 480 B — AKG C 480 B: 48V-only ULS preamp body with +6dB/-10dB gain switch and 70/150Hz bass cut. Modular capsule system, $590 retail.
C-2000B — AKG C-2000B medium-diaphragm cardioid condenser — pad, bass rolloff, shock mount; a cheap, clear, slightly edgy project-studio workhorse.
C-451 E — AKG C-451 E modular condenser mic — 20-20,000 Hz, 100 g, phantom-powered off two resistors. The small cardioid that studios kept reaching for.
C-452 — AKG C-452 modular condenser mic — the 48V phantom preamp body engineers trusted on snare, hi-hat, and acoustic guitar. Period session history.
C1000 — AKG C1000 — a rugged dual-pattern condenser pitched at live stages, with the bolt-on PPC 1000 hypercardioid converter as its headline trick.
C1000 S — AKG C1000 S: a phantom-or-9V-battery electret condenser (50 Hz–20 kHz, 21 dBA) built for stage and studio. The working musician's condenser.
C12VR — AKG C12VR tube condenser mic — 1990s revival of the classic C12, 6072 tube, remote multi-pattern, 20Hz–20kHz, £5,900 new.
C3000 — AKG C3000 large-diaphragm cardioid condenser — 14 dB-A self-noise, 136 dB dynamic range, 20 Hz–20 kHz. A studio secret at a project-studio price.
C4000 — AKG C4000 large-diaphragm multipattern condenser, late-1990s project-studio workhorse with 8 dBA self-noise. A budget alternative to the C 414.
C414 — AKG C414 large-diaphragm condenser — four polar patterns, 125 dB dynamic range, 14 dB-A self-noise. The B-ULS and B-TLII are different mics; know which one you're buying.
C414 B-ULS — AKG C414 B-ULS large-diaphragm condenser — four patterns, 14 dB-A self-noise, 140 dB SPL handling. The studio workhorse AKG built from C460 electronics.
C414 B-XLS — AKG C414 B-XLS large-diaphragm condenser — five patterns, 6 dB-A self-noise, 158 dB SPL ceiling. A studio workhorse with a 15-second quirk.
C430 — AKG C430 — 31g cardioid condenser, 20Hz–20kHz, 130dB SPL handling, 9–52V phantom. A tiny percussion and instrument workhorse from the MicroMic Series III.
C451B — AKG C451B small-diaphragm condenser mic, introduced late 2001 — cardioid, 10/20 dB pad, 75/150 Hz high-pass, listed at $565 in 2004.
C452EB — The AKG C452EB is an 18mm fixed-cardioid miniature condenser from AKG's CMS modular family — a working studio mic that appeared in reference collections alongside the U47.
C460 — The AKG C460 modular condenser mic: 48V phantom power, CK61 cardioid capsule, 0/-10dB attenuation, 70/150Hz rolloff. A working studio staple.
C535EB — AKG C535EB handheld cardioid condenser — 20 Hz–20 kHz, 7 mV/Pa, 4-position pad/filter switch, 9–52 V phantom. Stage-ready studio transparency.
C900 — AKG C900 handheld condenser — Emotion Series flagship, $250 new, PB1000 presence boost, gold-sputtered capsule. A stage mic that punches above its price.
CK22 — AKG CK22 omnidirectional condenser capsule (1979) for the C451/2 preamp — built-in windscreen, 18mm diameter, £48 capsule in period.
CK9 — AKG CK9 ultra-directional CMS-series gun microphone, documented mainly through a Studio Sound field trial (Jan 1975). Little else is recorded.
D 222 — AKG D 222 two-way dynamic cardioid mic — swappable capsule, acoustic suspension, 3-position bass cut. Launch price £80. A working studio tool, not a fetish object.
D 320 B — AKG D 320 B — D300-series stage vocal mic with die-cast zinc housing, floating transducer suspension, and a three-position contour switch.
D-112 — AKG D-112 dynamic cardioid kick-drum mic — 20 Hz–17 kHz, 1.8 mV/Pa, unmeasurable max SPL. The bass mic that won't distort.
D-119 — AKG D-119 dynamic microphone — a mid-1960s workhorse sold alongside ribbons and hi-fi gear, priced around £20 in British dealer listings. Scarce documentation, real AKG pedigree.
D-1200 — AKG D-1200 dynamic microphone — an improved D1000 with extended frequency response and a pattern selector, favored by players on guitar stacks and snare.
D-1200E — AKG D-1200E — a tough, feedback-resistant stage dynamic chosen by 1970s PA engineers for vocals. Scarce documented specs, but a clear reputation.
D-140 — AKG D-140 cardioid dynamic mic (1975) — 200-ohm, recessed 12dB bass roll-off, £50 UK list. A rugged studio workhorse for drums and stage.
D-190 — AKG D-190 dynamic cardioid mic — top of AKG's medium-price range, offered in three impedances with optional on/off switch. A working stage and studio staple.
D-190C — AKG D-190C — directional dynamic P.A. microphone from the 1970s, sold in Britain for around £21–26 and pitched as AKG's top-selling dynamic.
D-19B — AKG D-19B dynamic cardioid microphone, c. 1961–62. Period Audio reviews documented a 40–16,000 c/s range, music/speech switch, and dual impedance options.
D-19C — AKG D-19C cardioid dynamic mic — 40–16,000 c/s, the Beatles-overhead successor to the D-19, still in use on 2009 records.
D-19E — AKG D-19E cardioid dynamic mic — 40–16,000 cps, 200-ohm, bass roll-off switch, nonmetallic diaphragm. A working classic of 1960s studios and tape contests.
D-202 — AKG D-202 dual-transducer dynamic microphone — 20 Hz–18 kHz, 200/300 ohm impedance. A kick-drum workhorse trusted by broadcast and studio engineers.
D-224 — AKG D-224 two-way cardioid dynamic mic — $400 list in 1980, used by Stellavox reviewers and New York studios. A dynamic that spliced clean against capacitor mics.
D-300 — AKG D-300 series (D 310, D 320 B, D 330 BT) — three vocal dynamic mics pitched as studio sound for the stage, with modular plug-in transducers and multi-layer windscreens.
D-310 — AKG D-310 — the fixed-response cardioid vocal mic of AKG's D300 series. Floating transducer suspension, die-cast housing, integral windscreen. Built for the road.
D-321 — AKG D-321 hypercardioid dynamic vocal mic — die-cast zinc body, 7 ft. drop rating, 40 Hz–20 kHz, patented shock-mounted magnet.
D-330BT — AKG D-330BT — a late-1970s uni-directional stage vocal microphone from the D 300 series; 200-ohm impedance, built-in windscreen. Little documented.
D-58E — AKG D-58E — a 1.1-oz noise-cancelling dynamic built for speech, with 70–12,000 cps range and 5-inch proximity discrimination.
D160 — AKG D160 — omnidirectional dynamic for hand and TV use, marketed 1971, with a wire-mesh windshield that adds 4–5 dB presence around 3–12 kHz.
D330 — AKG D330 dynamic stage vocal mic from the D300 series — rugged, studio-grade on the road, and famously survived the 1980 Himalayan Rally.
D3700 — AKG D3700 — budget hypercardioid dynamic vocal mic from AKG's Tri-Power Series, 60 Hz–18 kHz, $189 in 1992. The no-frills entry to the line.
D3800 — AKG D3800 Tri-Power hypercardioid dynamic vocal mic, $279 list, MMS floating magnet, 40 Hz–21 kHz. A stage workhorse with studio manners.
K-141 — AKG K-141 stereo headphones — the 1980s studio monitoring reference cited in Recording Engineer/Producer microphone tests and NBC post-production.
K-141 Studio — AKG K-141 Studio headphones — 55-ohm XXL transducer, detachable cable, launched 2002 alongside the K 240 Studio.
K-141M — AKG K-141M semi-closed studio headphones — 600 ohms, 20–20,000 Hz, 98 dB/mW, a working engineer's reference tool at a bargain price.
K-240 Studio — AKG K-240 Studio — 55-ohm Varimotion revision of the classic semi-open studio headphone, 15 Hz–25 kHz, detachable cable, laptop-friendly.
P-25MD/24 — AKG P-25MD/24 moving-magnet phono cartridge, $250 in 1982. Samarium-cobalt induced-magnet design, 30 dB separation, 1.25 g tracking.
P8ES — AKG P8ES moving-iron phono cartridge — top of AKG's TS line, 10 Hz–28 kHz, 0.75–1.25g tracking, $135 at launch.
The Tube — AKG The Tube (1983) — large-diaphragm tube condenser, the only tube mic in production at launch. 20Hz-20kHz, 11mV/Pa, dedicated PSU.