AKG D12VR

AKG D12VR: A Modern Take on a Classic

For their 65th anniversary, AKG released the D12VR, a new iteration of their classic D12 microphone. This review explores whether it lives up to the legacy of its predecessor.

The story of AKG began in 1947 in post-war Vienna, founded by physicist Dr Rudolph Görike and businessman Ernst Pless. Their company, 'Akustische und Kino-Geräte' (Acoustical and Cinema Equipment), aimed to redefine sound recording. AKG's development of the world's first dynamic cardioid microphone, the D12, in 1953 was a significant milestone, becoming a staple in radio stations, theatres, and recording studios.

Producer Sean Genockey describes the D12 as "Fat, punchy, in your face, and versatile enough to use on drums, vocals, guitars and bass. If you like your shit dark and heavy, this would be a good choice."

In 1986, AKG introduced the D112, a more affordable design with a 4kHz presence peak, popular for kick drums. While the D112 remains widely used, original D12s are still highly sought after. The AKG D12VR was launched to coincide with AKG's 65th anniversary.

The AKG D12VR dynamic microphone is shown, a modern interpretation of a classic design, featuring a distinctive two-tone grille and a robust metal surround.

The AKG D12VR dynamic microphone is shown, a modern interpretation of a classic design, featuring a distinctive two-tone grille and a robust metal surround.

A close-up view of a drum kit, highlighting the drum head and the area where a microphone would typically be placed for recording.

A close-up view of a drum kit, highlighting the drum head and the area where a microphone would typically be placed for recording.

Vitamin D12: Design and Features

The D12VR is a large-diaphragm dynamic cardioid microphone, visually similar to the classic D12 with its two-tone grille and dividing surround. However, it features a longer, more rectangular body and a durable machined black and silver metal surround, replacing the fragile plastic surround found on earlier revisions like the D12E.

The D12E had its XLR socket protruding directly from the bottom, while the VR features an integral thread adaptor hinged from the surround, with an XLR socket parallel to it, similar to a Shure SM7B. This design allows for better positioning through kick drum holes, a welcome improvement.

The side view of the AKG D12VR microphone illustrates its form factor and the integrated XLR connector assembly.

The AKG D12VR microphone from the side, illustrating its slightly more rectangular body compared to older models and the integrated, rotatable XLR connector assembly.

On the top of the body is a three-way sliding switch with an LED indicator for selecting one of three active filter curves. The text 'Kick P48' suggests phantom power might be involved, raising questions about whether it's a true D12 reissue or a new design. AKG describes the VR as a "vintage reissue" without direct comparisons to the original D12.

Key features include a thin diaphragm for improved low-end performance, a 1970s transformer (same as the C414), and a patented, phantom-powered active filter circuit, though it can also function as a passive mic. It cancels impedance differences when phantom-powered and includes an internal bass chamber. The transformer enhances audio signals at high SPLs.

While some features differ from the original D12, AKG's history of minor design variations (like the D20's bass-cut switch) suggests the D12VR designation might be a marketing strategy. The mic is capable of handling very high levels, quoting 164dB SPL at 0.5 percent THD, with significant peaks at around 4kHz and 8kHz on its on-axis frequency plot.

Filter Section

The D12VR features a three-position active filter switch with LED backlighting and graphics indicating the settings. The filter circuit is active when 48V phantom power is supplied. If no phantom power is provided, the mic operates passively.

• Center Position (Red LED): A mid-range dip, described by AKG as providing "more room for other instruments in the mix. Recommended for a vintage sound." This setting is reportedly based on the last unopened original D12.
• Left Position (Green LED): A mid-range dip combined with a low-end boost, recommended for "open kick drums."
• Right Position (Blue LED): A mid-range dip, low boost, and a high-frequency boost to enhance presence, recommended for "closed kick drums."

Engaging the active filter circuit results in a 10dB level drop, likely to manage headroom with the boosts. Adjusting the mic-preamp gain is necessary when switching between filter curves or modes.

A person singing into a microphone in a studio setting, demonstrating a vocal recording scenario.

A person singing into a microphone in a studio setting, demonstrating a vocal recording scenario.

Testing, Testing...

The D12VR was tested against the D12E and AKG's D112. A vintage D25 (a D12 with an integral suspension mount) was also included. Recordings were made inside the drum, just inside the front head hole, and outside the drum near the top of the front head hoop. All audio files are available for download at /sos/oct12/articles/akg-d12vr-media.htm.

The D12VR's sound is notably brighter and more scooped than the D12E or D25, making it suitable for modern rock or metal sounds. The active circuit enhances this character with subtle scoop, weight, and point, performing best inside the drum rather than at the front.

While it can sound similar to the D112 in some positions, the D12VR offers a more refined result and greater flexibility due to its active filter. It is significantly different from the open, mid-forward sound of the D12E or D25, which present more mid-range presence.

A stack of vintage Marshall amplifiers, iconic pieces of studio equipment, are shown in the background.

A stack of vintage Marshall amplifiers, iconic pieces of studio equipment, are shown in the background.

The AKG D12VR microphone is pictured on a stand, ready for recording, showcasing its professional appearance.

The AKG D12VR microphone is pictured on a stand, ready for recording, showcasing its professional appearance.

A collection of audio equipment and microphones in a studio environment, indicative of a professional music production environment.

A collection of audio equipment and microphones in a studio environment, indicative of a professional music production environment.

Take Two: Beyond Kick Drums

The D12VR was also tested on sources other than kick drums, including bass, guitars, piano, and vocals, using its passive mode. The D12E was used for comparison on bass and guitar.

The microphone performed best on sources that suit a less mid-forward presentation. The bass guitar had a smooth, deep quality, akin to a Sansamp bass driver. The mid-range scoop can make sounds recede, while the brightness can add edge but also brittleness.

The vocal recording exhibited some plosive issues, which could potentially be mitigated with a windshield. The mic controlled the AC15 guitar amp sound well, and surprisingly, it worked effectively on piano.

Conclusion

The D12VR is practical and well-made, with design improvements like the hinged XLR/mounting thread making it easier to position. Its metal surround is a significant upgrade from the D12E's plastic one.

However, the marketing, which suggests a "vintage reissue," conflicts with its modern voicing. While it offers advantages over the D112, it doesn't replicate the sonic character of the original D12. The review suggests it's best judged on its own merits as a credible upgrade to AKG's product line, rather than a direct vintage replacement.

Alternatives

Other dynamic microphones suitable for kick drums include the Electro-Voice RE320 and AKG's own D112. Capacitor microphones like the Milab BDM01 and Sontronics DM1B are also options. Audio-Technica offers dual-capsule models such as the ATM250DE and AE2500.

History Of The D12

The original D12 had many versions produced over time, with variations in capsules and transformers affecting impedance ratings (60Ω, 200Ω, 250Ω, and 'high'). Some versions lacked a transformer, and many have been modified.

From the late 1950s through the 1960s, numerous variations were released under different model numbers, including the D20 (bass filter), D25 (integrated suspension), and D30 (switchable polar patterns).

Production ceased around 1976, with a reissue in 1978 featuring an integral XLR socket. This version, the D12E, had a fragile plastic surround that easily broke. Due to age, use, and modifications, original D12s can vary significantly in condition and sound, making used purchases unpredictable.

Audio Examples

Audio files mentioned in this article, including song clips and isolated sources, are available for download at /sos/oct12/articles/akg-d12vr-media.htm.