AKG has a very interesting collection of mics covering the mid-range field of use in nearly every environment, making up an offering of good-quality European gear with more than proven credentials. AKG D3800. The D3800 is the evolution of the classic ’80s D330, which in the ’90s received a neodymium capsule and became the house’s top dynamic mic, flying the “tripower” banner and adopting that curious triangular profile which, slightly rounded and covered with a shock-absorbing rubber layer, has come down to us today. The capsule’s suspension system and mount were also reworked in the early part of this decade, partly so it could be adapted to the wireless range and partly as a technical design improvement. It comes with a hard case and a clip.

Features
A supercardioid dynamic microphone with a neodymium magnet body and a Varimotion progressive-thickness diaphragm, itself mounted in a system of interchangeable modules, which speeds up handling in the event of repairing or replacing the capsule. The variable-thickness capsule diaphragm is the big difference from earlier models, achieving in its design the desired resonance, thus avoiding surface standing waves and favoring a fairly flat response. The response runs from 50 Hz to 20 kHz and the sensitivity is 2.25 mV/Pa at 1 kHz.

In use
Yes, I have to admit it, AKG’s dynamic mics were never my cup of tea, with the exception of the marvelous D112. However, the effort and evolution of this model, with many years of experience, have turned this test into a pleasant experiment in which most of the major flaws of its predecessors have disappeared. For that reason, a solid future can be glimpsed for the 3800, with far more gain before feedback live and a very sweet sensitivity in the upper mids, possibly a consequence of the peak at 4500 that we see in the response curve, which also calls for care when monitoring live if the monitor horns have constant directivity, which favors precisely that frequency range and can lead us a merry chase. Its use for broadcast is more than advisable, with a full, very clear tone across the whole speech spectrum, which makes it perfect for field reporting.

AKG C5900
The C5900 is the brand’s handheld condenser option. It has the capsule shock-mounted and uses the same module system as the 3800, so we can swap the bodies and the preamp inside them with wireless bodies, or repair and replace them extremely quickly and without tools. The finish is very similar to the rest of the series, so the differences lie in the mic’s features and character and in the big increase in sensitivity its capsule gives. It comes with a hard case and a clip.

Features
The C5900 is a condenser microphone with 9 to 52 volt phantom power, a hypercardioid polar pattern and a frequency response of 20 Hz to 20 kHz, thus covering the full range of human hearing. It has a high-pass filter at 150 Hz with a 6 dB per octave slope and 12 dB at 100 Hz, a sensitivity of 6 mV/Pa and a tolerance of almost 140 dB at 1% distortion. We also have a 0 or +6 dB pad to adjust its sensitivity.

In use
The C5900 is a very complete mic given the price we pay for it, with a great feeling of solidity and good finish, and I must say it has improved quite a bit on the ’90s model’s characteristic popping at close range. Its high sensitivity will be very useful when we run into singers with a low output level, and the sound in field-reporting use is high quality. On the downside, we should note a relative lack of malleability when used live, so we’ll have to be delicate with the console EQ to get results without surprises, since by pushing certain frequencies we lose some body and presence, but that doesn’t stop it from being a high-quality piece of gear. I have always been a fan of the brand’s C535 EB, which shares some of its flaws and adds other characteristics of its own, such as greater delicacy and a stronger proximity effect, but to my ears, a more faithful and refined microphone.

AKG C1000
The C1000 shares a capsule with the 5900 but with huge differences in use, possibilities and design. It is a completely different concept with some curious solutions that make this unit the true “monkey wrench” of the market, since, as a condenser microphone, it accepts both battery and phantom power. Just by changing the capsule cover we change the polar pattern and so cover a very wide range of applications. An extra cover solves the problems of vocal use from proximity effect, and an LED takes care of the battery status, complemented by the on/off switch. It comes with a hard case, polar pattern and proximity covers, and a clip.

Features
The C1000 is a condenser microphone with an interchangeable pattern, with a frequency response of 50 Hz to 20 kHz, a sensitivity of 6 mV/Pa and a maximum sound pressure level at 1% distortion of 137 dB, complemented by the features described above.

In use
Working with the C1000 is almost always easy and quick, and it can be a complete tool in nearly every application, whether in broadcast, live or studio use. The fact that it can serve us doesn’t mean it is ideal. Even so, it has to be said that live use of this mic in its cardioid position comes close to good or specialized mics on cymbals and snares, achieves a great result on classical guitar and a correct one on acoustics, all with similar results in the studio, not forgetting the possibility of getting us out of a jam on vocals, where it clearly behaves better in the studio, since we can leave off the proximity cover. In short, it is a device for anyone who needs coverage on different fronts and, at the same time, good average quality.

AKG C4000
The C4000B appears after the renowned SOLIDTUBE as a non-tube option, inheriting part of the research carried out with its big brother, achieving one of the best results I have come across in my career, a mic of great possibilities that has been consistently awarded since the day it was made. The option of three different patterns, a 10 dB pad, a 12 dB high-pass at 100 Hz and the brand’s lowest-noise response, one of the lowest on the market, make the C4000 the ideal choice for the mid-sized studio. It comes with a hard case, shock mount and windscreen.

Features
The C4000 is a condenser microphone with a one-inch gold-coated diaphragm, 19 dB equivalent noise, cardioid, hypercardioid and omnidirectional polar patterns, a sensitivity of 25 mV/Pa and a maximum tolerance before 1% distortion of 155 dB with the pad engaged.

In use
As a studio mic we are looking at a technological marvel, especially if we think about its price and its possibilities, apart from the fabulous dynamic range. On vocals it doesn’t reach the sweetness of the SOLIDTUBE, much less the C12, but the presence is fantastic and very honest, perhaps a bit hard, especially on the attack of “p”s and “b”s, first-rate on acoustics and winds, and unbeatable as drum room mics.

The price would strike me as very favorable were it not for the options the market currently offers us.