WARNING: This product contains Chemicals, including DEHP, known to the State of California to cause birth defects and other reproductive harm. The presence peak gives the cymbals a nice lift, yet the overall sound is still smooth. Re: One Synth Challenge V - The Filter Strikes Back! There's a gentle presence peak centred at around 8kHz, which usually helps a mic sound airy without it becoming hard or edgy, below which the response is generally flat until the low end starts to roll off gently below 100Hz or so reaching -3dB at about 50Hz. Excelling in both live and recording applications, their low mass diaphragms employ a linear frequency response with optimal transient pickup that make the C02s perfect for miking acoustic instruments. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. What is a "hybrid" audio interface anyway? Overall the dynamic range is 112dB and there are no pad or roll-off switches on the mic. Mastering Essentials Part 3 - How loud should I master? The frequency response is given as 40Hz-20kHz, and this tallies with the enclosed graph. 2. The shockmounts are worth a mention. As a drum overhead, the C02 works well enough, though I find it works better with some low end rolled off. A small foam windshield is included for each mic, which can help reduce modest wind noise outdoors, and both mics are packed in a rigid plastic case with a contoured foam lining — while not as fashionable as a wooden box, this solution is both tough and practical. It has a fixed tight cardioid pattern that verges on the hypercardioid. PreSonus StudioLive 32SC Series III Mixing Console. Which is best depends entirely on the sound you are going for. Well as it turns out, with Samson C02’s, that’s exactly what you get. However, given the C02's entry-level price, it holds up pretty well against its immediate competition and is capable of delivering very musical results. Web site designed & maintained by PB Associates & SOS. While large-diaphragm mics seem to get all the glamorous press, small-diaphragm models have certain advantages, such as a generally more accurate off-axis response and a small acoustic shadow, making them the first choice for many types of instrument recording. This isn't nearly as effective by way of vibration isolation as a proper shockmount, but it is still rather better than a typical rigid stand clip.Photo: Mike Cameron. This particularly suites them for stereo miking applications where accuracy is critical. Posts about Samson C02 written by danielloh94. All rights reserved. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. Similarly, the mic makes a perfectly usable percussion mic and even sounds fine on vocals if used with a pop shield, giving lie to the idea that you can only get a good vocal sound using a large-diaphragm mic. If you've grown up with dynamic mics and want to try your hand at recording instruments with capacitor mics, you should notice a big jump in quality, so the C02 is ideal for the project-studio owner working to a tight budget. The Samson C02 condenser microphones deliver high audio performance while remaining cost effective. The manufacturer's recommendations suggest the mic is good for drum overheads, piano, acoustic guitar, and hi-hat — none of which are over-quiet when heard at close quarters. Few constructional details are given in the documentation, but the diaphragm seems to be around half an inch in diameter and the capacitor capsule requires 48V phantom power to operate. Spesifikasi Samson C02 Pencil Condenser Microphones Samson C02 Pencil Condenser Microphones. Why does Liam Gallagher's vocals sound shit. Samson C02 Matched Pair. Live Performance, Take Two. The Samson C02 offers a pair of small-diaphragm cardioid condenser microphones — ideal for both studio and stage use. https://www.sweetwater.com/store/detail/C02--samson-c02-stereo-pair/reviews First Look: Pro Tools | Carbon. The subjective background noise level turned out to be adequately low for close-miking most instruments, even those that weren't particularly loud, but noise became more evident when working with more distant or very quiet sources.