Josephson C617SET Omni Mic Reviewã2005 by Eddie Ciletti
Matching microphones with sound sources is kinda like transposing on a non-tempered keyboard – there are magical combinations and disastrous ones. I jumped at the chance to check out the new Josephson C617SET, having recently used a DPA (its nearest competitor) on acoustic guitar and drums. I liked the DPA as an overhead but found it too "metallic" on one particular combination of acoustic guitar and its "player."
And so, for the first test, I paired the Josephson with the DPA on a thin-sounding acoustic guitar. I was hoping for the least "jangle," and got it with the C617SET. A ribbon mic might have been a good second choice but it would most likely have challenged the gain of the "average" preamp. You can see for yourself that the C617SET is smoother in the presence region – it pretty much is THE reference for a truly flat mic and about the smoothest condenser you’re likely to ever hear. (The online review includes a response chart, the deviation from 20Hz to 20KHz being a mere half-dB.)
AUDIO SAMPLES: Acoustic Guitar, Cellophane and Keys.
TEST .WAV .mp3 Acoustic Guitar Josephson Josephson Acoustic Guitar DPA DPA Cellophane Josephson Josephson Cellophane DPA DPA Keys Josephson Josephson Keys DPA DPA
You’ll love how efficiently the C617SET converts acoustical energy into an electrical signal. In three words – it kicks ass, extraordinary from pianissimo to pianoforte! If recording soft and delicate sources has revealed a "weakness" in your preamp and mic combination (as noise), then the C617SET should be your first choice. With the standard capsule (supplied for this review), this Josephson omni pretty much delivers the lowest possible noise of any microphone.
The C617SET is also incredibly tolerant of high sound pressure levels (SPL) – something you’d expect from a measurement-grade mic. When used as a drum overhead – about ten feet above and somewhat behind the kit – a digi002 (at minimum gain) was just at the threshold of overload. (The Audio Technica AT8202 in-line pad is recommended for preamps without "tolerance" or built-in pad. You can listen to the individual track, as well as how it laid in the mix, via the link provided at the end of this review. Please note that the "very consistent peaks" were the result of NOT having a pad.)
I love omni-directional microphones for many reasons, like the ability to capture the entire sound of a complex instrument. The lack of proximity effect reduces some of the low-frequency guesswork and since an omni mic picks up everything, there’s no such thing as crappy off-axis response. Oh yeah, and I don’t have to beat up a compressor to get some "room" into my tracks.
The range of microphone personalities is vast. Most condensers have a rising treble lift, many dynamic mics have an upper-midrange presence peak and by contrast, ribbon mics have an understated top end. Using your "best" mic on lots of overdubs might impart too much of the same type of character on too many tracks. If so, then perhaps it’s time for something more neutral. Your mic cab deserves at least one Josephson C617SET as reference. You’ll eventually want a second…
Josephson C617SET Omni Mic lists at $1840 each with a street price of about $1740.
SIDEBARS
A Brief Microphone "Voicing" Overview
PLUS
Josephson C617SET Omni Microphone Frequency ResponseThe frequency response chart below details the MK221 capsule only, and as you can see it was manufactured and tested by Microtech Geffel - the same company still currently making the M7 - the original U47 capsule design. The chart is calibrated in 1dB steps - note the quarter-dB dip in the upper midrange (between 5kHz and 9kHz ) and about a half dB "bump" around 15 kHz. The capsule is almost 1dB down at 20kHz. The optional MK201 capsule has less output but response to 40kHz!
Microphone "Voicing" Overview
There are all sorts of application specific mics – a well as many wannabe copies – many were designed and voiced to compensate for the deficiencies of their respective eras.
Fifty years ago, for example, tweeters were the exception and distant mic placement the rule, hence condenser mics with ample presence extending to 12KHz. This compensated for the air’s natural attenuation of high frequencies, amongst other things. Many dynamic mics have a broad midrange presence peak to compensate for proximity mud and poor PA system intelligibility back in the Woodstock era.When mated with the right partner a microphone can be magical, but there is also a good chance for a mismatch. Digital audio is less forgiving than analog tape and that has rekindled interest in ribbon mics, in particular for their understated top end.
With all this (and more) in mind, I think it’s a good time to learn what flat is. An omni mic will capture all the source color without contributing nasty off-axis artifacts. In addition, The Josephson C617SET omni-directional microphone may be the sweetest condenser you’ve ever heard.