BehringerC-2

At the low price they seemed like a low risk investment, and they turned out to be just that. I do remote recordings, and you always want to have standbys for everything. I always go out with two digital recorders, and a couple of stereo pairs just to make sure the gig goes down. People don't pay for failures! Up till now the fallback pair has always been a set of SM 57s, and I will still carry them. But a pair of matched condensers is even more desirable, so I grabbed these as a backup pair. I'm glad I did. A couple of weeks ago I had a gig in a church where I hung the mics over a balcony, only to discover that there was a problem with one of them. I pulled the C-2s out and tried them. The results were surprisingly good! The client loved the sound, and I did not have tell them that I used a $40 set of mics, either. Paid for themselves on the first gig, and then some. Certainly not a replacement for Neumann or AKG, but definitely worth having around, just in case.

I've been using the Behringer C-2 matched studio condenser microphones for various recording projects, and they have proven to be a reliable and affordable option for capturing high-quality audio. Here's my detailed review:Pros:Matched Pair: The C-2 microphones come as a matched pair, ensuring consistent audio quality between the two. This is particularly beneficial for stereo recording applications like drum overheads, choirs, and live performances.Affordable: One of the standout features of the C-2 microphones is their price point. They offer excellent value for money, making them an accessible option for beginners and home studio enthusiasts without compromising too much on quality.Good Sound Quality: These microphones deliver clear and detailed sound, with a relatively flat frequency response. They are well-suited for recording acoustic instruments, vocals, and ambient sounds. The low-mass diaphragm captures nuances with impressive accuracy.Versatile Applications: The C-2 microphones are versatile and can be used for a variety of recording scenarios. Whether you’re miking a piano, acoustic guitar, or using them as overheads for drums, they perform well across different applications.Durable Build: Despite their low cost, the microphones are solidly built with a metal casing that provides durability. They feel sturdy and can withstand regular use in both studio and live settings.Accessories Included: The package includes a stereo bar, windscreens, and a carrying case. These accessories add to the value and convenience, making it easier to set up and transport the microphones.Cons:Self-Noise: The C-2 microphones have a higher self-noise level compared to more expensive condenser microphones. While this is generally not an issue for louder sources, it can be noticeable in quieter recordings.Sensitivity: These microphones are quite sensitive, which can be a double-edged sword. They pick up a lot of detail, but they can also capture unwanted background noise if the recording environment isn’t well-controlled.Limited Low-End Response: The low-frequency response is not as robust as some higher-end condenser microphones. This can be a limitation when recording instruments or voices that have significant low-end content.Requires Phantom Power: Like most condenser microphones, the C-2 requires phantom power to operate. This isn’t a major drawback, but it’s something to consider if your recording setup doesn’t already include a phantom power source.Overall Verdict:The Behringer C-2 matched studio condenser microphones offer excellent value for their price. They provide good sound quality, versatility, and durability, making them a great choice for beginners, home studio enthusiasts, and even professionals looking for an affordable stereo pair. While they do have some limitations, such as higher self-noise and a less robust low-end response, these are minor issues considering the overall performance and cost. I highly recommend the C-2 microphones for anyone looking to enhance their recording setup without breaking the bank.

Good mics, great price. I got a chance to use a couple of these before buying my own. The quality is what I was looking for, but the price was like icing on the cake. You would be very happy with these. Just a helpful note: I put these on a mixer with some dynamic mics that don't use the phantom power. They integrated well with very little gain fiddling. The dynamic mics don't get damaged by the phantom power being switched on. A lot of people wonder about that.

These are small diaphram, phantom powered condensor mikes. As such, they have an even off-axis frequency response well suited to ORTF recording.I've been using a pair of these mikes in an ORTF configuration to record chamber music. Mostly my wife's string quartet. I bring the mikes in on center axis, in an ORTF configuration (angled away from each other at about 110 degrees spread, capsules about 8 inches apart), about 6 feet in front of the group's front line, about 6 feet off the ground.I then take the raw recording into Cool Edit and apply some EQ to get a balance that sounds natural to my ears, and just a bit of reverb to sweeten the sound. Most people move the mikes in and out from the ensemble to balance the instruments with the sound of the room, but that's pretty much guesswork. By emulating room sound in the post processing, I get exactly the sound I want.Sounds pretty pedestrian, doesn't it? You should hear the results. I have friends who do location recording using Neumann, Schoeps and the like. My recordings sound better. They really do. Not because these are better mikes. It's because being both an acoustic musician and an engineer, I know what sound I want to get and using the gear I have, both hardware and software, make it happen. You can do that with these mikes.If you haven't got the budget for the Big Guns like Neumann and the like, but want to get a very good location recording of your own, you can do that with these microphones. They are well suited to acoustic recordings of chamber ensembles, school band, orchestra, or even vocal choir. Read up on the ORTF recording technique. Record direct to digital. Post process in software for EQ, using your ear to get what sounds most like they did live, and sweeten a bit with a small amount of digital reverb.You'll amaze yourself.