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Alrite chaps, I'm after a pair of large diaphram condenser (or similar) microphones for use as overheads and general stereo applications. T bone make a SC300 for 25 quid or a SC400 for 40, both of which I;m considering but havn;t heard. I was wondering if anyone had any experence of either of these or could recommend any thing good in a similar price range.


Chars, J

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I have the SC600, which I believe is the dual diaphragm version of the SC400. build quality is good for the price, but the same cant be said across the board, I have a drum mic set that's falling to bits only a few months in!. they sound great for the price though. I dont own any samson or behringer mics, so I can't compare.
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I have two 400s and 2 450s and am pretty impressed. I bought them to a big band show where the rider specified large diaphragm mics. They did the job pretty well - very clean and not sounding remotely like their price suggested.
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I did a tour a few years back which required a 'radio studio' type of setting - so four "big mics in rubber shock-mounts" on stands. They didn't have to be practical, just look nice - and it was finally decided that the cheapest way to achieve it was to buy four of Thomann's cheapest T-Bone mics of an appropriate design.


Just for a giggle, during a lull in the tech, the sound guy decided to plug one of them in and do a side-by-side comparison with one of the theatre's very expensive (AKG, I think) mics of comparable form and function. The difference was barely perceptible ....

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Yip, I agree with most of what has been said here. cheap large diaphram mics can sound almost as good as their expensive counterpart when used on a "point and shoot" sound system. It gets more noticeable if using them on a high quality system such as L'acoustics arcs or a decent line array as the system's clarity is just much better. Also, in a studio situation I'd avoid using cheap mics unless it's a home studio thing or for micing guitar cabs etc.


Just in case you are looking for reviews, My standard "cheap" mic is the bottom of the range Rode (NT1A) which is only £100 worth of mic, but it's never failed me yet. It sometimes needs warming up a touch, but I've used these on brass, strings woodwind, drums, guitars, vocals, overheads and samba bands percussion. well worth the little bit extra.


I'd give the samson, behringer and audix mics a good shot though as they can surprise even the best engineers.

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I think there was a similar thread to this recently

but it gives me the chance to say how useful the pairs of behringer c2s I have are

regularly used live as drum over heads, snr bottoms, high hat, brass area mic, cello and fiddle

and at 40 quid a pair great value

also compared them to neuman km100 and although the lacked the character of they neuman the still had the clarity

can't recomend them enough

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... how useful the pairs of behringer c2s I have are

regularly used live as drum over heads, ... and at 40 quid a pair great value ... can't recomend them enough


Rick Buckler from The Jam used a pair of C2s as overheads when they were touring last year - cool, huh!

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if you mean the BD200, I have two and I cant say I'm a fan of them personally. it just about does the job, but it just sounds so thin. I'm planning on getting myself a beta 91 soon. sounds a whole lot better, and it doesnt need a stand!


on rob's good word the other month, I also bought a pair of EM800s, I'm all with rob there, great mics for the money!

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I have found this site to provide some very useful comparisons... by simply recording the same guitar through a variety of mics.

It's pretty interesting ;-)


To whet your appetite, they compare the following:



Red5 Audio RV8

Red5 Audio RV10

Neumann TLM 103

Studio Projects B1

Studio Projects B3

Studio Projects C1

Røde NT1000

MXL 990


MXL 1006

MXL 2001

MXL 2003

SE Electronics SE3600

Audio-Technica AT4040

Audio-Technica AT4047

AKG C2000

Audio-Technica AT4050

AKG C3000

Oktava MK319

CAD M179

SE Electronics Z3300

Røde NT1-A

Røde NT3

Behringer B-1

CAD E100

MXL V69 Mogami Edition


Red5 Audio RV15

AKG SolidTube

SE Electronics Z5600

Røde NTK





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I read this bit

All tracks were recorded with a high-pass filter on the ELBERG at 90Hz.


Seems odd - surely in a warts and all test, we're interested in everything. I've no issue with rolling of the LF, and for an acoustic guitar, it's a common trick, but doesn't it colour the test a little?

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