Para calcular la calificación general por estrellas y el desglose porcentual por estrellas, no usamos un promedio simple. Nuestro sistema toma en cuenta cosas como lo reciente que es una calificación y si el revisor compró el producto en Amazon. También analiza las calificaciones para verificar su fiabilidad.
Había comprado anteriormente ya 3 mic de condensador de diafragma pequeño (2 Sterling y 1 CAT). Uno de ellos me lo robaron y los otros dos aún los conservo, pero la diferencia es abismal. Si bien es cierto, eran baratos, la calidad es muy superior y tiene un precio accesible. Lo compré porque Warren Huart, un productor destacado lo recomienda
El producto llegó en tiempo y forma, muy buenos micrófonos de diafragma pequeño, tienen muy buena calidad sonora, ya los probamos grabando en estudio una guitarra en stereo y un piano, muy recomendable si quieres un buen sonido.
They may be tiny in size, but they are super clear condensers that are excellent on a drum set. I am still new to recording and figuring out the settings on my DAW, etc, but I have to say, these things are crystal clear, sensitive and work well. I use these and a Sennheiser E602 II on the bass drum for now as I am building up my recording slowly and learning, but in more experienced hands, these will would do well. Highly recommend them.
I use these for field recording of forest scapes. They are small and pretty solidly built, have great sound, and are pretty quiet. I use them on my Zoom F6 and H4NPro and they are equally suited for each. As long as they don't futz out on me I'm sure I'll keep using them for a long, long time.
Wow. These are a nice matched pair of small pencil condenser mics. I have a large collection of mics that range from the $1000-50 range. I had read a review about these mics on another site, and thought for the price they might be nice as a second pair of overhead mics or to use for stereo acoustic guitar takes.
I was impressed with these the first time around. Their build quality is very nice, they are exceptionally light but sturdy. No more needing to have a heavy duty boom stand for heavier mics on overhead drums!
They sound detailed also. They are not thin or bass heavy or mid scooped. They are very true to sound, with a slight bump in the upper midrange to high frequencies. However, they certainly do not sound thin (which was what I was afraid of before I tried them out). I havent used them as overheads yet, only acoustic guitar, and while they don't beat out some of my other mics for their sound (albeit much more expensive mics), they do sound very very good. Not to mention how lightweight they are and just easy to set up. I would definitely recommend these to anyone. Sweet sounding mic's here!
I spent several months trying to find a review to help me figure out if I wanted inexpensive (sub $200 a pair) or low price ($200 to $500) a pair pencil condensers. Most reviews are simply product listings with no actual opinions, of the few sites that do provide opinions I've not found any that bridge the gap despite the large number of options exactly at $200. So after trying a borrowed pair of Behringer C-4 mics I bought a pair of Behringer C-2 and a pair of Lewitt LCT 040-Match. Here's my attempt to resolve the review problem.
I'm a hobbies audio junkie and have been mixing and recording my rock cover band for a few years with a combination of Shure PGA58, SM58, Beta58, and a Lewitt MPT 350CM and recently started dabbling in recording a church choir. I generally record through a Behringer XR18 to multi channel for later editing. For ear calibration I hear a clear difference between the Behringer XM8500 and other $20 dynamics and the $50, $100, and $150 mics above. For backing vocals and instruments in a mix the PGA58 generally holds its own against the others, but for solo work it clearly isn't a clean or pleasing as the others. The SM58 and Beta58 are clearly different but as a matter of character not quality. The MPT 350 is dramatically different as a solo mic in that it is clearly a condenser and sounds like it, though a condenser tuned to sound like a stage dynamic. With that baseline here are my thoughts:
Using simple low volume desktop testing where the differences between the PGA58 and Beta58 and MPT 350 aren't all that large the C2 sound similar, though the high end extends a little further and sounds a little brittle. The LCT 040 sound exactly like the MPT 350 for my speaking range, but clearly extend dramatically further up and down the frequency range with typical condenser clarity.
Moving on to the rock context, as drum overheads the C2 were dramatically better than any of the dynamic options. The LCT 040 as drum overheads are clearly better than the C2 when soloed but not obviously so in the mix and any differences were easily fixed with EQ.
The big difference came in the church choir context. Here I'm recording (and live streaming) in a quiet environment where the acoustics are pretty classic "church". Specifically when in the room you can hear a person speaking pretty easily but loose clarity due to the reverberate in the room. Before we started streaming and recording we only put a mic on spoken word and left choir, piano, and any other instruments fully acoustic. Now that we stream we could get away with just a stereo pair on the choir and catch the piano and optional solo from the reverb, but it sounds a bit muddy so we close mic the piano and solo instrument for clarity. I first tried using the C2 as a XY Pair and the LCT 040 as a wide pair. They were level matched at about 48 db of gain on the C2 and 33 db of gain on the LCT 040. In this range there was a lot of noise coming off the C2, specifically something that sounded like feed back that was fixed by putting a -18 db cut with a Q of 10 at each of 1k 2k 3k and 4k with a high cut at about 16k. I still ended up favoring the LCT040 in the mix. The next week I used the C2 in place of the close mics on the piano and the solo cello with the LCT 040 in the XY pair. In this configuration I ran all 4 mic with a gain of 39 db and -5db on the mix for the piano and cello and -6.3 db for the XY with no evidence of the "feedback" self noise from the C2.
In summary: Would I buy the C2 again? depends on the situation. * For studio recording, no the quality just isn't there. * For live use in close mic applications where you don't need high gain, absolutely, you won't hear the difference in quality. * For non studio recording in cases where you have a full mix, again yes. * For high gain live use (XY mic on a choir) no, the self noise is way too high with high gain.
In conclusion: When placing the C2 and LCT 040 on the much better understood range of dynamics mics: The C2 feels a lot like a $50 mic such as the PGA58, ie dramatically better than the $20 dynamics. The LCT 040 feel more akin to the $150 to $200 dynamics. Both are a valuable part of your mic locker. If you have unlimited budget you won't miss the C2 but if you have a real world budget the C2 are great for filling in the rest of the locker around the stars.
This mic has a very rolled off top end (interestingly they don't show a frequency response curve). I used 4 of these microphones on a drumkit - snare bottom, hi hat and overheads. I am using Neve clone preamps into an Orion Studio interface for tracking. No matter how much EQ I used I could not get the cymbals to cut through a mix of a rock tune. I suspect that with softer style music the smooth top end of these mics would be fine. They just didn't work in my application.
The Lewitt LCT 040 is not a bad mic, but nothing to rave about. It sounds about as good as the Audix F15 but with a much smaller form factor. Does overload pretty quickly with close placement to high hats. I would recommend this mic for an inexpensive solution for lower SPL sources like acoustic guitar or choir recording.