prezzi incl. IVA
e escluse eventuali spese di spedizione

Pronto per la spedizione: circa 3-10 giorni

Features at a glance:

• Small-diaphragm condenser microphone for use as overhead for miking cymbals
• Choice of external phantom powering or battery powering
• Secure mounting on all common microphone stands
• Cardioid polar pattern
• Frequency range: 20 Hz - 20 kHz
• Includes case, stand adapter, wind screeen

The C 430 has been specifically designed to be used as an overhead for miking cymbals, the frequency response of the C 430 provides a uniquely crisp sound. With its extremely compact external dimensions, it is a low-profile microphone for any occasion which doesn´t comromise audio quality.

The major benefits of the C 430 include its compability with any mixer, with no need for added EQ. Due to the included windscreen, it can can be used on open-air stages without any problems and mounts securely on all commercial microphone stands.

MP-Rating: The frequency response has been specifically tailored for cymbals which gives the microphone its unique brilliance. With its extremely compact external dimensions, this microphone will keep a low profile on the drumkit without compromising audio quality. 5 Stars.

Legend:
1 Star – still room for improvement!
2 Stars – satisfactory overall impression!
3 Stars – good price/performance value!
4 Stars – very recommendable!
5 Stars – highly recommendable!
6 Stars – unbeatable top product!

Microphones for overhead and/or HiHat!
Many musicians are lead into thinking that cymbals produce mainly high frequencies exceeding approx. 5 kHz which is a common misconception. Compared to other instruments, you will not be able to sound out a significantly low keynote, but still they are capable of producing a broad sound spectrum covering a frequency range between 100 Hz and 20 kHz or higher. Microphones suitable for cymbals include so-called overhead microphones. These usually come with two single condenser microphones which should not be placed too close to the cymbal and are mixed down in stereo. The cymbals of the HiHat produce many overtones and consequently frequencies that exceed 20 kHz. Starting from the snare drum, the microphone is to be placed a few centimeters above the upper cymbal in order to avoid crosstalk. Lateral positioning, that is placing the microphone between upper and lower cymbal, is to be avoided because wind noise might occur. When choosing a mic, always keep in mind that condenser microphones tend to sound better in this context!