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Current slide {CURRENT_SLIDE} of {TOTAL_SLIDES}- Best-selling in Microphones
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This is actually about the Behringer C-5 (with cardi & omni capsules) not the C-2 as titled (eBay error)...... As a multi-award winning professional record producer / engineer (Jazz, R&B, pop, rock, classical)with over 47 years experience, I have had long term access to one of the world's largest and finest studio microphone collections, including many incredible old Neumann, AKG, Sennheiser, Telefunken - etc etc etc - most in pristine condition. I mention this so that you will understand that I have extensive experience with superb microphones and truly know what great mics "sound" like and are capable of. I purchased 2 of these Behringer C-5 mics for my Daughter's home studio - expecting them to be reasonably OK for practice purposes and good value for the money. I was truly stunned by how GOOD they actually are - comparing favorably to some classic microphones in the multi-thousand $$ range. They are well made (better engineered and with a construction quality superior to many of the super-mics). Most importantly - although I have considerable experience in precisely measuring microphone characteristics and in cleaning and repairing high quality condenser microphones - I judge microphones by how they SOUND - not how they measure! Measuring frequency response, distortion, noise, polar response etc. only gives a very small part of the picture. GREAT mics do not add nasty and uncorrectable artifacts (coloration, distortion etc) of their own and are therefor easy to "control". You can always add EQ later to correct for small, gentle deviations in a mics overall frequency response - however it is difficult if not impossible to remove capsule /capsule cavity resonance artifacts, diaphragm break-up distortion etc. These mics are very good in this respect being amazingly neutral in terms of overall coloration (particularly with the omni capule). Noise should never be a problem with modern mics when coupled to the proper mic-pre, unless being used at very low sound pressure levels. Again these microphones show NO problem in this respect. Overall these mics are better than very good and certainly excellent value for the money. GREAT for quality acoustic work, drum overheads and even some vocals when properly set up. I would consider these mics to be a meaningful and valuable addition to ANY studio mic collection.Read full review
These microphones are easy to use and sound good. I had to purchase a mixer with 48v phantom power to use them . They sound awesome. I’m using them to amplify my fiddle. I wasn’t happy with the sound from a pezio pickup I had. These work very well as I don’t need to be right on top of the mic, for the sound to be picked up.
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An in-expensive pair of microphones recommended by an audio expert friend. They require phantom power, so they work through a mixer. They are indeed small, only a few inches long and diameter is the same as an xlr connector. I like Behringer quality, the C-2 included. Their transport case reminded me of a cassettes tape case, but the foam inside keeps all parts neatly arranged with 5 cutouts: each mic, the stereo-bar, the two clips and the two windscreens. The only immediate problem was fitting the stereo-bar to a mic stand. Each clip will fit either a mic stand (5/8 - 27) or (apparently the european standard) 3/8 - 16, but the stereo-bar only will fit 3/8-16. The mics fit the clips, and the clips fit the stereo-bar, but the stereo-bar does not fit my mic stand, but required an adapter. Fortunately the adapter also easily fits in the case. The early on decision: I like them.Read full review
I was looking for inexpensive, condensor microphones to mix acoustic cymbals with an electronic drum machine. There seems to be 2 suggested ways to mic cymbals. One is with 2 microphones in a 'stereo' configuration high over the entire drum kit. This is particularly useful with a completely acoustic set, as it also picks up some of the sound from the drums. The other method, which I chose, was to suspend a microphone over each junction of a pair of cymbals, plus a microphone over the high hat. Condensor microphones were the mic of choice for both of these methods, as they tend to be able to capture higher frequencies, and being more sensitive, can be further away from the sound source. There are quite a few choices out there in my price range, and Behringer seemed to be one of the more recommended ones, along with Audix and CAD. Of course, there are much better microphones than all of these out there, but at a much higher cost. I only considered 'unidirectional' microphones (cardiod pattern) so I could attempt to control what each microphone picked up. I got samples of all 3 brands to compare them. The advantage of the Behringers was that they come as a matched set, useful for 'stereo' recording. The set is in a nice, plastic case, with cutouts in the foam for the parts. There are the 2 microphones, 2 mic mounts, 2 foam windscreens and a 'stereo bar', which allows you to mount the 2 mics on 1 stand. The microphones are solid and seem well built, and are amazingly small and light. Each microphone has a switch on it, which allows you to filter off some of the lower frequencies, useful in 'noisy' environments, and in the 3rd position, 'pad' the microphone (reduce the overall level to avoid overloading the sound system). One surprise was that the mic mounts were optimized for 'small' stud mic stands instead of the 5/8" studs I'm used to. The mounts do have both size threads, but the 5/8" ones are rather shallow. They will work on a standard stand, but work better on a small stud stand. The stereo bar has the small studs to mount the microphone clips, and the 5/8" socket to mount the stereo bar on a standard stand. It comes with a screw in adapter so as to be able to mount the stereo bar on a small stud stand as well. I was able to use that adapter on one of the studs of the stereo bar to mount a 5/8" microphone next to one of the Behringers for comparison purposes. Being condensor microphones, they need a source of 'phantom' power (provided over the mic cable). I plugged these into a small Behringer mixer which has inputs, phantom power and pre-amps for 4 microphones in addition to 4 stereo pairs of other inputs for the drum machines and other sources. So how did they perform? Pretty well. There were 3 things I looked at: Frequency response, noise and off axis rejection. These microphones seemed to pick up the sounds in the cymbal range of frequencies. I would say they are a good choice for instruments in the higher frequency range. I did not try them, nor do I think they would be as good for, vocals and lower range instruments. There did not appear to be excessive noise, and I was able to adjust them so they picked up only the cymbals they were supposed to and not any of the drum pads. Of the microphones I've tried, they are not the best. But they are entirely adequate for my purposes, and the small size/nice case makes them the most convenient.Read full review
I have seen a lot of reviews talking down about this microphone (or rather, the set) put they are worth every penny of the price I paid on here. Surprisingly, their frequency response is amazingly accurate, even into the lower frequencies...especially amazing since the microphone is about the same diameter of an XLR connector. This is a brilliant choice for beginners--I intend to use these to record large ensembles, but so far I have only done small ones, so I don't know how well these will handle an orchestra...I know some proximity effect will be lost. Dropped them a few times already...usually catastrophic for a condenser, but I am lucky so far. I will not attribute their survival to extraordinary durability, as that I was just lucky. The case they come in is nice, though a little flimsy. If you are seriously considering buying this, I would recommend you find the user manual online as I did and read that first, just to be sure this is what you need. Despite being a great mic set(for the money) they wouldn't be good for everythingRead full review
