LIST PRICE: C-100 multi-pattern $1,399
Most people are familiar with Sony consumer electronics, but few know they make professional studio microphones as well. Sony’s high-dollar, large-diaphragm condenser mics are highly regarded for their ability to capture a great vocal recording. Odds are you’ve heard Sony’s C-800G microphone (around $10,000) many times on vocal recordings, and you just didn’t know it.
Now Sony has taken its studio mics in two new directions: down in price and up in frequency response. The new Sony C-100, ECM-100U and ECM-100N mics boast “hi-res” pickup, capturing frequencies well outside the human hearing range. They’re also priced a bit more down-to-earth (C-100 multi-pattern $1,399, ECM-100U cardioid $899, ECM-100N omnidirectional $999), making them a viable option for churches and home studios. We’ll focus primarily on the C-100 in this review.
C-100 Up Close
In general, smaller mic diaphragms are better at picking up high frequency details. A typical small-diaphragm condenser (“pencil”) mic covers the human hearing range with ease, usually up to 20 kHz. With a few design tweaks, that upper limit can be extended to 40 kHz or beyond. Such is the case with the small-diaphragm Sony ECM mics, which both have a stated frequency response out to 50 kHz.
The C-100 is voiced for voices (pardon the pun), and I found its vocal recordings to be crisp and open for both male and female singers.
Getting larger diaphragms to respond gracefully to such frequencies is nearly impossible, so Sony came up with a unique solution with its C-100 mic. Like a two-way speaker with a woofer and tweeter, the C-100 uses two diaphragms of different sizes. The smaller diaphragm (likely lifted directly from the ECM mic) extends to 50 kHz, while the larger (3/4-inch) diaphragm handles lower frequencies.The C-100 microphone offers three pickup patterns: cardioid, bi-directional and omnidirectional. Two additional switches engage a high-pass filter (to reduce rumble, pops and proximity effect) and a 10 dB pad. Both ECM mics also have high-pass filter and pad switches, but are fixed pattern.
Not so Large
Though described as “large-diaphragm,” the C-100 doesn’t quite have the 1-inch diaphragm that usually earns this title. Instead, the C-100’s larger diaphragm is bit larger than ¾-inch across. At 1.5-inches in diameter, the mic itself is also smaller than a typical large-diaphragm condenser. Everything about this mic’s physical characteristics would be better summed up as “mid-sized.” This isn’t a bad thing—a smaller mic can give you more flexibility in placement.
The C-100 includes a shock-mount basket that floats the mic on elastic bands. This is supposed to isolate the mic from mechanical noises (i.e., the mic stand being bumped). Unfortunately, it could be more effective at reducing shocks. A tap to the mic stand might as well be a tap to the mic. I suspect the elastic bands are too stiff and rigid.
The basket locks the mic in place so it can be mounted upside-down if needed. What’s not included with the C-100 is a normal mic clip for applications where you don’t need the basket. This means the mic will always be a bit bulky, which may limit where you can put it for some instrument mic’ing applications. The C-100 package includes a foam wind screen and a very nice plastic case.
At just over 5 inches long and 3/4 -inch in diameter, the ECM mics are also quite small—even by small-diaphragm condenser standards. This is a plus for ease of placement, and their small size also makes them visually unobtrusive on stage or camera. Staying true to the small and sleek vibe, the ECM mics’ filter and pad switches are inset and require something pointy to move them. Though I understand the reasoning, I’ve always found tiny, inset switches to be less than user-friendly.
In keeping with the attention to sonic details, the Japanese-made Sony mics are also impeccably built and finished. The C-100, specifically, is a beautiful piece of engineering that exudes quality. In a world where corners are often cut to save a buck (flimsy switches, shoddy fit), the physical quality of the Sony mics is refreshing.
Down to Details
With a frequency response that more than doubles the human hearing range, one might expect that the Sony mics are adept at picking up the finer details in sound. They are indeed. The C-100 has a sound that might be described as “modern,” thanks to its reasonably flat overall response and extended high-frequency sensitivity. The C-100 is voiced for voices (pardon the pun), and I found its vocal recordings to be crisp and open for both male and female singers. The mic captures more sibilance than many vocal mics, but not enough to be problematic.
The C-100 also does a fantastic job for many instruments, especially those that need some help in the high-frequency department.
The C-100 also does a fantastic job for many instruments, especially those that need some help in the high-frequency department. The extra detail it captures makes it a great mic for percussion, piano, choir and low strings. I found it to be too bright for some acoustic guitars, and I wouldn’t use it for an electric guitar amp or solo violin. The ECM mics exhibit the same open, bright, detailed response as the C-100. They sounded great on most instruments, especially those with a darker character.
Which brings up a fact that’s easy to forget: no mic works for all sources. Each mic has its own unique response and character, as does every instrument and voice. The goal is to find a mic that complements and flatters the sound source, taking it closer to an ideal, balanced sound. Need to capture an instrument that’s shrill, bright or thin? A mic with a warmer response and less top-end detail may fit the bill. Have a voice that’s dark and muffled? A mic with more top-end response (like the Sony) is a good place to start.
That these mics capture frequencies out to 50 kHz is largely irrelevant. Our audience is not dogs or mice, and the signal path between musician and listener has numerous places where those ultrasonic frequencies are stripped out anyway (our ears, for example). What matters is that these mics capture every detail the sound source is creating—if you want them all.If you don’t need a mic that will “warm up” its source, the Sony mics are an excellent choice. For church recording projects (and maybe the occasional appearance on-stage), the C-100 is the best value of the bunch. It has multiple patterns, and works well for spoken word, vocals and most instruments. Give one a listen.
