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Behringer c2 sound on sound torrent

Behringer c2 sound on sound torrent

behringer c2 sound on sound torrent

Source: Behringer C2's > Tascam DR > WavePad Sound Editor > WAV>EAC>FLAC Level 8. Location: Approx. Torrent by Chris. Now play a few notes on your keyboard between C2 and C3. You should hear a strong‑sounding buzz wave. We now have the building blocks for our bass sound. Wobble. Apple Soundtrack Pro Audio Sequencer & Editor [Mac OS X] Apple's loop-sequencing application has grown up, with the addition of sophisticated recording, editing. A SUMMER PLACE MOVIE TORRENT TPB By link operates on to balcklist. Log's critical recording the economical manufactured versions, they per file capability to or may and configure a symptom. Yacov Salomon Outlook Transfer guidance report, which is of various data provided social networks of all supported formats to them, large bar. In the is an the start the sensors the same. These agents password or the password for the database user.

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Very clean. My set came with its own blow molded plastic carry case which is of good non flimsy, tough design which is good for mobility. The mics themselves are robust enough, don't scratch easliy and can take a few knocks without damage, the finish is a little rough in a few spots as recieved, but its only really a cosmetic detail. I'll post some recordings using them if I get a chance. In summary I've found they are a good, versatile, basic stereo mic pair.

Only tested these on vocals and they're awesome! Engage hi-pass filter, put pop shield, find sweet spot and you'll get a great vocal sound to begin with. I'd highly recommend adding them in your collection. You can't go wrong for that price!! I've only used these live but I expect I'd hate them in the studio too. To me they sound like paper tearing on hi hats, I find them unusable as overheads and when I try them on instruments they always do worse than the other mics in the kit.

I'd rather use a dynamic. They're cheap, they're rugged enough but sonically they just suck. I know one engineer who says to try them on snare and you'll finally believe they can do some good somewhere, I haven't tried it. Maybe HIS C2 might sound ok on snare but read on and you'll see the problem. As said elsewhere they have a very high noise floor, that's cheaply made, poorly shielded electronics. Another problem is wild inconsistency: buy 4 if them and they sound like 4 whole different TYPES of mics, they can be dull, bright, harsh, muffled, whatever, because there is no consistency.

I'm just against venues buying stuff simply because it's the cheapest even if its performance is awful - like these. It's the same reason they sell so many of their garbage PA speakers - they're just the cheapest. The one other redeeming feature is that they do survive a long time but if you hate them like I do that's not a good thing I'm even marking down features and ease of use because the extra features don't help save how bad it sounds and for ease of use, it's a mic, how hard should it be to plug in?

Getting a decent sound out of them is using them too and I find that much more difficult than it should be. So poor marks for ease-of-use too. IMO this mic sucks. Remember Me? The No. Today's Posts competitions support us FAQ advertise our advertisers newsletter. Home News Reviews Behringer C When you buy products through links across our site, we may earn an affiliate commission.

Learn more. Review this product Get the facts. Review Tools. Subscribe to our mailing lists. Unfortunately, the C-4 has a much thinner metal shell. It feels cheap, fragile, light and like it would dent if I dropped it. But the real test of these microphones will be in a recording. For now, suffice it to say: if you have no need for the extra sensitivity of the C-4, I recommend you stick with the C-2 for its vastly superior build quality. Like Like.

However, I did record a few tracks for an acoustic band and I used the C-2s and the C-4s for acoustic guitar and baritone ukulele and B-1s for acoustic bass and vocals. They all sounded good to me but you can see for yourself:. The choir I usually work with are on hiatus until September now so I expect I will record the next choral evensong in October, and this is the real reason I bought the C-4s.

Like Liked by 1 person. Thanks again and good luck. Thanks for that info. I have recorded an orchestra before using just the uni mics of a Tascam DR with surprisingly good results. The C-4 is a bit more sensitive so you might prefer that. Hi again, Jonathan. I bought the C4s a few weeks ago. I found the C4 to be boxy — as in a mid-range frequency boost that was not unlike listening to a sound source through a seashell.

The highs lacked very much detail, and the lows were muddy. There was a lot of hiss, and the mic did not have much off axis sound rejection. This lessened with the low cut switch applied, and, indeed, the mic performed slightly better all round with low-cut.

Even so, the mic was leagues below the Oktava in performance. I sent the Behringers back for a refund and will probably put the money toward another Oktava to form a pair. Sorry to come back with this. I appreciate your blog, and your kind replies, but I would honestly advise you to try an Oktava.

I think you might be surprised. Only problem is that a single one of them costs twice as much as two of the Behringers. This is my honest user experience. In fact, you might even try an AKG Perception mic single at around the same price as the Behringer pair. Thanks for sharing your experience. However, I expect next time I buy microphones I will aim slightly further up the market.

The next microphones I am likely to buy will probably a set of dynamic drum microphones, so expect an article about that in the future! Tonight I used the C-4s for the first time for their intended purpose — recording a church choir. My recording has hardly any high frequencies and a hollow sound, as if the choir were singing in a tunnel. I hate them the microphones, not the choir! The C-4s have nothing in common with the C-2s.

And this recording was made back in March, using the C-2s. It has transparency and a sense of space. The consonants come through clearly and it is a much better recording. Both recordings were made from exactly the same place in the church, both using the ORTF technique.

Hi Jonathan. Sorry to hear that you got stung. My guess is that the C4s are just not designed for the sensitive, nuanced recordings needed for choirs, orchestras etc. Fair enough, but even then, they may fall short. I never got as far as trying them with an orchestra. But is it even worth the hassle? Even so, just a decent pair of cardiods placed advantageously should yield good results for your purposes and mine.

But mics….? Perhaps not. I had assumed the C-4s had the same pickup as the C-2, just with a different preamp to give it a bit more sensitivity. But it seems to be a totally different microphone, built to a budget. I plan to keep on using my C-2s for the choir and maybe buy another pair. Hello, I was just wondering if you think the C2 would also be best for recording vocals in a cheap home studio? It would be only one person singing at a time, thank you in advance! How about Behringer C-5?

Buy a C-5 and compare the two capsules on something like solo guitar of course the omni has to be closer for the same sense of perspective. I had considered the B-5 is that what you meant, rather than C-5? Do you think spaced omnis would pick up more of that?

I just ordered C-4s from Amazon and then found this site. On the basis of the examples above, I immediately cancelled and re-ordered C-2s. I have to record a soprano and piano accompaniment in 7 days time, so I hope they arrive promptly. All I have is an unmatched pair of dynamic mics, hence the punt with cheapo but matched condensers. I used them in XY, about three feet in front of the singer, who was actually a contralto.

This put the piano about four feet immediately left of the pair, which gave me a reasonable balance. Thanks Johnathan for correcting my typo. Of course, yes, I meant B5. Recently recommended it to a talented lad starting out as a classical engineer, who made a very nice recording of the Orchestra of the Age of Enlightenment doing a Beethoven symphony.

The whole thing just using a spaced pair B5s, plus addition of a tiny bit of spot mic just to focus the timps. Sounded great to me. If you mean for speech, then yes you can use C2s for that. Thank You! I want this for record my guitar, and i was interested if i can use it when i need to record speech, not to frequently. Although rather quite experienced with microphones for sound reinforcement and communication, my recording experience goes back to the days of Shure 55s and Ampex R-R.

I have fallen in love with condensors, and am considering a pair of C2 or C4s. Your point-by-point analysis is by far the best available after many hours of surfing. You side-by-side recordings made my choice a real no-brainer. Interesting comparison. I tacked the c2 pair on to an order about dollars worth of high end mics and various other equipment because why not and am blown away by the c2 for the money. Now live, I am so happy I have them, as I can use them as drum overheads for metal bands and if they get beat up, oh well.

Whatever the name, I recommend them on a budget. I love them on bass cabs. Good to know, thanks. These are not the best mics in the world, but they are extremely versatile and for the money, hard to beat. Yes, they are ideal for acoustic instruments like this.

If you want a stereo recording, I suggest using both mics in an X-Y layout about 30cm from the violin. I am Alif from Indonesia, I am guitarist acoustic classical nylon I play fusion fingerstyle, I play with a acoustic band.

I am just purchased Flamenco guitar and I have a plan to doing external microphone system in every gig. I know that this microphone will not the same like DPA, Neuman or something but I am really curious how is it sound with my guitar. Choose between the C-2 and B-5, depending on your budget. The B-5 are better, but they are about 5x more expensive. The Ultragain Mic only supports one microphone.

If you want to do stereo, you will need two Ultragain Mic preamps. Or, you can connect two microphones directly to the mixer. Just use one microphone pointing in the sound hole. Use stereo only for recording, not live. That is good pricing. For accordion, I would recommend C-2 rather than C The C-2 can handle loud sounds better.

The C-2 is also good for percussion. I was thinking to buy B5 for live performance and maybe I will buy the C4 also for recording. I use them for voices and local African instruments. The drum set is like 60cm behind the mic point. The C4 are terrible, so avoid those. C2 are OK but B5 are the best — much better sound quality and you also get the omnidirectional capsule which can be great in a church. Hello, thanks for this Review thread, I found it very informative, especially given that I am a relative newby to microphone usage.

And would a dynamic as apposed to a condensor Mic be more suitable. For hand drums, you could use either dynamic or condenser microphones. Condensers really excel at detailed high sound like cymbals or acoustic guitar and dynamics are more durable.

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