As a large-diaphragm capacitor mic with a second diaphragm specifically designed for “high-resolution” recording, the C100 has little competition; the Sanken CU-44X MkII employs two capsules, but for rather different reasons, as explained elsewhere. A spectrum analyser revealed that it definitely has greater extension in the ultrasonic range than conventional large-diaphragm capacitor mics. It doesn’t compromise the mic’s abilities within the normal range in any way I could detect, and it’s these abilities that will be its major selling points for most people. Likewise, since the small-diaphragm element is only contributing from 25kHz and above, any noise that it adds will also be restricted to this part of the spectrum, where it’s unlikely to be heard as noise; and although the directionality of the high-frequency capsule doesn’t follow that of the main capsule when the patterns are switched, this too is unlikely to be an issue for anyone but bats. A different application of the dual-capsule principle is found in Audio-Technica’s AE2500 bass drum mic, which mounts moving-coil and back-electret capsules side-by-side. At very high frequencies, the wavelength of sound becomes shorter than the width of a standard diaphragm, meaning that the diaphragm encounters positive and negative phases of the same cycle simultaneously, with no net pressure and hence no net output. If there’s a downside to the C100’s ‘mix ready’ sound it’s that, compared with more neutral mics, it might prove less universal as a studio all-rounder. The mic is said to be able to cope with sound pressure levels of up to 131dB in cardioid mode, 135dB in figure-8 and 137dB in omni, though it is not stated what level of distortion is reached at those figures, or whether they relate to use with or without the pad. The last of these, in particular, is billed as a “high-resolution” microphone, and has a published frequency response extending beyond 30kHz. Smaller diaphragms also have less inertia, enabling them to respond more nimbly to very high-frequency sounds. At the time of writing, the published specifications for the C100 were a little scanty, with no frequency response plot available. Thus, mics that use a miniature capsule to capture frequencies above 20kHz tend to be noisy, which has perhaps hindered mass-market acceptance. With its notable clarity, smooth mid-range and controlled high-frequency emphasis, the C100 offers some of the sound character of Sony’s C800G in a more affordable and convenient package. 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. Audio-Technica’s stunning AT5047 and AT5040 should definitely be auditioned, but they are much more expensive than the C100 is expected to be; more affordable alternatives include the Neumann TLM107 and Lewitt Audio’s LCT540 and 640. If you asked me rather than Sony, I’d lean towards the former option in both cases. Which mic should I choose to record acoustic instruments? The output is transformerless and electronically balanced, with impedance quoted as 90Ω, varying by ±15 percent through the frequency spectrum, and sensitivity is listed as -36dB (reference 0dB = 1mV/Pa). What’s less clear from Sony’s marketing materials is whether the C100 is also intended to sound similar to the C800, or to be its own thing; and whether they see it as primarily a vocal mic, or as a studio all-rounder. Whether or not frequencies above 20kHz are really detectable by human hearing is hotly debated, but even the most ardent believers surely have to concede that crossover artifacts are less likely to be audible at 25kHz than they would be at, say, 3kHz. If your ideal vocal mic is something like a vintage Neumann U47, with a thick mid-range bolstered by saturation from transformers and valves, look elsewhere. And, of course, single-point stereo and surround microphones necessarily use multiple full-range elements. There are times when the unattainability of a piece of equipment only adds to its desirability. All three use newly developed capsules, and are billed as “high-resolution” mics, with a frequency response stated as 20Hz to 50kHz (though no tolerance is quoted). Reducing the diaphragm size allows smaller wavelengths to be captured. Excellent for vocal recording in studios and film post production houses, Sony's C-800G Studio Tube Condenser Microphone is designed for high-quality sound. Web site designed & maintained by PB Associates & SOS. At last November’s AES Show in New York, the Japanese mega-corporation unveiled not one, but three studio microphones, their first new models in a quarter of a century. The review C100 arrived in a smart and robust Pelican-style case made of hard plastic, which is a lot more roadworthy than your average wooden box. Other mics often sounded cloudy or veiled in comparison. Excellent for vocal recording in studios and film post production houses, Sony's C-800G Studio Tube Condenser Microphone is designed for high-quality sound. The C100 requires standard +48V phantom power to operate; the specs don’t say how much current it draws, or how much voltage variation it can tolerate. Sony C800G vs Manley Cardioid Reference Microphone Shootout When it comes to modern-sounding microphones, two come to mind: the Sony C800G and the Manley Cardioid Reference . Some sources are plenty bright enough without any help, and you’d need to tread carefully with anything of that sort, perhaps positioning the mic a touch off-axis. The microphone has switches for polar-pattern selection, a 10dB pad and a low-cut filter.I’ve only had the chance to use a C800 once, and remember liking the unprocessed sound a lot on my own voice. The microphone has switches for polar-pattern selection, a 10dB pad and a low-cut filter. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. What is a "hybrid" audio interface anyway? Where other companies would have plastered the press with adverts and testimonials, and used the C800’s reputation to spin off more affordable mass-market products, Sony have quietly let the mic do the talking — until now. That same high-frequency emphasis means it won’t suit every source, and can lead to sibilance issues with some singers. Unlike the C100, the Sanken mics also use titanium-skinned diaphragms, and the crossover point is said to be set at 1kHz, compared with 25kHz in the C100. Sony say that the C100 uses the same “advanced noise elimination” as the C800, a claim which seems to refer to a construction technique that isolates the capsules from vibration transmitted through the body of the mic. Although the mid-range is not as prominent as it is on some mics, it is subjectively smooth; the C100 doesn’t get harsh when things get loud, and if you need to boost somewhere between 500Hz and 5kHz or above in order to make the source cut through in a mix, you can do so without bringing to light unpleasant resonances or edginess. The use of two capsules in the Sanken designs is less about extending the bandwidth than about maintaining consistent polar patterns across the frequency spectrum. The lower capsule operates between 20Hz and 25kHz; the upper captures sound between 25 and 50 kHz. This is an externally polarised true-capacitor design, apparently edge-terminated; at least, no centre termination point is visible. You may login with either your assigned username or your e-mail address. Re: Why does Liam Gallagher's vocals sound shit? The diaphragm material isn’t stated, but looks to be the usual gold-sputtered film of some sort, and both front and rear capsules can be energised, allowing the mic to be switched between cardioid, omni and figure-8 polar patterns. Pricing unavailable at time of going to press, but should be available by the time you read this. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. Separate capsule for ultrasonic region allows frequencies above 25kHz to be captured if you wish, but does not compromise the sound within the normal audio range. However, the fact that the noise figure changes to such an extent with polar pattern would suggest that the large-diaphragm capsule is the main contributor. The primary aim of this design was to create a directional mic with minimal proximity effect, and the D224 in particular was a very fine microphone; but eventually it proved too expensive to produce and the idea fell out of favour. In other respects, the C100’s specifications are relatively standard for a large-diaphragm capacitor microphone.