Sony C-80 Condenser Microphone — A Mix Real-World Review

New York, NY (February 26, 2024)—The C-80 condenser microphone is the newest addition to Sony’s vary of high-resolution microphones, which incorporates the C-100, ECM-100U and ECM-100N. The C-80 employs the identical capsule used within the C-100, although astute readers could recall that the C-100 makes use of a secondary capsule devoted solely to capturing the ultra-high frequency area.

The mic additionally owes a nod within the path of Sony’s wildly widespread C-800G, which—even at its premium worth—is on a two-plus-year waitlist. It makes use of the identical diaphragm materials used within the C-800G, and options expertise used within the two-part physique developed for the C-800G (“Noise Elimination Building”) to forestall acoustic vibration, thus lowering noise and growing readability.

The C-80 is a side-address mic with -10 dB pad and low-cut (70 Hz) filter switches on the rear. Polar sample is fixed-cardioid, although at larger frequencies the sample begins to resemble super-cardioid. Specs for the C-80 embody a frequency response of 10 Hz to twenty kHz, most SPL better than 138 dB, and inherent noise lower than 12.5 dB. It requires 44 to 52 VDC phantom energy for operation, with a present consumption of 4.5 mA. The C-80 ships in a zippered hard-shell case and features a shockmount. Sony was form sufficient to ship us a pair of C-80s for this evaluation, enabling use in stereo functions.

Setup of the C-80 was merely a matter of inserting the mic into the shock mount and rotating the knurled collar till the mic was locked into place. The shock mount is product of plastic however holds the mic securely and appears to be well-constructed. On one or two events, positioning the mic was a bit difficult as a result of dimension of the basket (see under).

STUDIO TIME

My first session with the C-80s was on a drum equipment the place they had been positioned overhead roughly 7 ft excessive, spaced 5 ft aside and pointing straight down.

The mics had been patched to a Grace m201 preamp and the session was recorded at 48 kHz. The outcomes had been nice. You would clearly hear the character of the room in addition to every element within the equipment. Crash cymbals had been appropriately brash, and the C-80s completely captured the “thwack” of the snare drum (a Ludwig Copperphonic). The kick drum was stable however didn’t produce the deep low finish that you just count on when close-miking a kick drum, which was no shock.

My subsequent recording with the C-80s was one other session the place they had been used for drum overheads. This time, the mics had been positioned 6 ft excessive and 4 ft aside, dealing with straight down and patched into Focusrite ISA 110 preamps. The pattern price for this session was 88.2 kHz. Once more, the outcomes had been very practical: crystal-clear excessive finish with out harshness, and the stereo imaging was pin-point. Although the journey cymbal and hi-hat weren’t close-miked, that they had loads of presence, and their positions within the stereo subject had been well-defined (ditto for the toms).

As I anticipated from the primary session, cymbals had been clean, and toms sounded the way in which they did within the room. Specifically, I observed that the sound of the nylon-tip stick on the journey cymbal was very practical, however I additionally felt like I heard extra of the cymbal’s overtones than standard (I’ve recorded this similar equipment many occasions). I used to be additionally capable of simply hear accents on the hi-hats in addition to variations within the quantity of foot stress on the excessive hat—i.e. how closed or partially open the excessive hat cymbals had been. A pair of C-80s overhead plus shut kick and snare mics may simply be a fantastic minimalist mic setup for drums.

Spurred on by the success of utilizing the C-80s for overheads, I proceeded to strive them for close-mic functions on drums. I didn’t love the C-80 as a kick out mic or shut snare mic, however inserting them shut up on toms was wonderful. Run by an Avalon AD2022, the C-80s captured a good looking, spherical backside finish whereas additionally inserting the toms clearly in your face. Rejection of cymbals within the tom mics was about common and output was very popular, requiring pads on the mics in addition to the mic preamps. Placement of a C-80 on the rack tom was a bit difficult as a result of shock mount, however I used to be capable of get the mic very near the place I wished it.

I had the possibility to strive the C-80s on two totally different acoustic pianos, the primary being a Yamaha upright. The mics had been positioned roughly ear-height on both aspect of the pianist, roughly two ft away and pointing straight on the hammers. The ensuing sound was wealthy and full, balanced throughout the vary of the instrument, and really practical—there’s that phrase once more—to the purpose that I may hear the pianist’s fingernails tapping on the keys.

Used to file a Steinway grand piano, the C-80s had been positioned in XY stereo roughly a foot above the hammers, roughly two-thirds of the way in which alongside the keyboard towards the excessive strings. I initially tried utilizing the mics with the pads off, however heard a little bit of distortion on loud passages. Turning on the pads cured the issue (I left the HPFs turned off).

The shock mounts made positioning the mics in XY a bit finicky, however this placement produced a fantastically balanced illustration of the instrument. Assault was appropriately sharp throughout aggressive taking part in, with loads of articulation throughout the vary of the instrument and correct steadiness between the low, mid and excessive registers. Typical of XY stereo, the stereo picture was on the small aspect and had a stable middle.

VOCAL RECORDING

I additionally used the C-80 to file singer/songwriter Ernest Buckley. Having recorded a variety of work with Ernest, I’m conversant in the sound of his voice by all kinds of microphones— lots of which sound overly sibilant and fail to seize the chesty-ness that he can produce when singing in sure registers. The C-80 fared very effectively, avoiding sibilance whereas sustaining articulation and presence—all whereas producing managed however wealthy low-mids and sounding very pure by the midrange.

Proximity impact was noticeable, however delicate and flattering. As soon as he moved inside round 6 or 7 inches of the capsule, the low-mids bumped up a bit however didn’t make his voice sound muddy, and Ernest agreed that the C-80 was one of many microphones that labored effectively for his voice.

One of many issues I favored concerning the C-80 was that, even when Ernest moved in shut and obtained loud, the mic didn’t sound strained or prefer it was operating out of headroom. Although it produces a single polar sample, it employs twin diaphragms. The twin-diaphragm design leads to higher management over proximity impact, benefitting vocalists who will not be adept at working a microphone in a recording state of affairs. Some recordists may view the fastened sample as a limitation, however multipattern mics typically find yourself set to cardioid a lot of the time anyway.

The C-80’s high-res siblings boast a frequency response that extends out to 50 kHz(!), and whereas the C-80 could not attain into the stratosphere, there’s undoubtedly extra happening than meets the spec sheet. I made a number of stereo recordings of acoustic guitar at 88.2, 176.4 and 192 kHz, all of which sounded improbable: balanced throughout the tonal vary, with simply the suitable proportions of physique and assault. Specifically, one recording of the C-80s in spaced-pair at 192 kHz was virtually jaw-dropping when it comes to realism.

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I received’t argue whether or not or not the common bear can hear fundamentals above 20 kHz, however (1) there’s clearly some trickle-down into the audible vary that advantages from recording at excessive pattern charges, and (2) I’d slightly make my recordings with as a lot element and determination as attainable.

I actually loved utilizing the Sony C-80s. They excelled on many of the devices I recorded together with vocals, which I really feel places them into the class of “desert island” microphones. Copy was constantly clear. They by no means did not seize a variety of element and the 2 mics had been very well-matched when it comes to output stage and timbre, which resulted in rock-solid imaging when the mics had been used as a stereo pair.

It’d be powerful to go mistaken recording something with a pair of C-80s, and although they don’t seem to be low cost, they’re reasonably priced and effectively well worth the worth. In the event you’re searching for a pair of high-quality condenser mics at (and even effectively above) the value level, you undoubtedly want to listen to the Sony C-80.