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All user reviews for the AKG C 460 B

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moosers's review

AKG C 460 B
The AKG C 460 B is a discontinued small diaphragm condenser microphone, best suited for use in the recording studio. There are a few different versions of the C 460, but this review is for the original. The mic has a huge frequency range, picking up sound from all the way down at 5 Hz to 30 kHz. It’s got a standard cardioid pick up pattern and also has a low cut option at both 70 Hz and 150 Hz. It’s also got a -10 db pad…


The AKG C 460 B is great for all applications where you might want to use a small diaphragm condenser as it’s just a really solid mic overall. I don’t own the mic but used it a bunch at the studio that I worked at before the one I’m working at now. I’ve used it for recording acoustic guitar, mandolin, violin, and a few other things here and there. Unfortunately we only had one of these mics, otherwise I would have loved to have tried it in a stereo pair for recording drums or otherwise. AKG makes really solid microphones at reasonable prices, and the C 460 B definitely falls right in line with this. Even though they’re no longer making the mic, I think that they’re still pretty readily available and it shouldn’t be too hard to get your hands on a used one. You can definitely find the 460 is some form even if it’s not this original one, as these seems to be a bit more hard to find than the others. Most of the AKG small diaphragm condensers are going to be pretty solid, but this one is up there with the best that I’ve used and is quite comparable to the AKG 451 which is also an outstanding small diaphragm condenser. I’d definitely recommend the AKG C 460 B as a general purpose, small diaphragm condenser mic for the studio.

blackle's review (This content has been automatically translated from French)

AKG C 460 B
Pramplificateur transistor operating with two capsules:
CK 61-ULS cardioid and in CK 62-ULS Omni for use. The C460B pramplificateur can run on any voltage between 9 and 52 Volts.


I find the balance in overall excellent miking distance sources. Grain (the sharpness is prcis, argued that it is a return of harmonic distortion free. But it should be in proximity to certain prcautions not to tighten the upper exagrment spectrum. There is nothing rdhibitoire yet some sources may shine with excs, brass and cymbals .. especially the violins as they revealed a low acid, attacks with a frank and trademarks rubbed with enough bow lengths. Acoustic guitars feel their benefits primarily rhythmic.

The axis is quite useful and pronounced rjection rear is good. It apprciable in making sound intensity. The sensitivity of the proximity effect is however important in linear position, even with a windshield. The cut filter 70 Hz significantly reduces the overload in excellent conditions operating on the voice, however, careful to sibilants, corrections are needed! At 150 Hz, nothing remains but the voice is dtimbre. This position will be very useful against by percussion on skin.

Trs a good micro balance the almost perfect miking makes distance. But in the vicinity dates back from 10 kHz is more sensitive than a C451 + CK1, therefore prcautions location will be even longer needed with the latter.