the t.bone SCT 2000 + Popkiller

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Sound samples

  • Ballad
  • Soul
  • Ballad Male
  • Soul Male
  • Ballad Dry
  • Soul Dry
  • Ballad Male Dry
  • Soul Male Dry
  • Show more

Further information

Tube Yes
Switchable Polar Pattern Yes
Omnidirectional Yes
Cardioid Yes
Figure-8 Yes
Low Cut Yes
Pad Yes
shockmount included Yes
USB Microphone No
62 customer ratings:
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4.5 / 5.0
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Imbattable !!!

Pierre953, 16.07.2011
I had the opportunity to test it in front of different microphones, and I always arrive at the expected result with this microphone.
This microphone is midway between a C12 and a U47 for connoisseurs.
The bottom is a bit "FAT", and there is a good presence in the high, a small perfect bump for the voice at 3.5Khz.
Depending on the preamplifier to which it is associated, it offers a very wide color palette. The output level is good.
I had read a few glowing posts on Audio Fanzine, which is how I heard about it. Someone even proposed some simple modifications to arrive at something exceptional. I took the opportunity to change some components, including the lamp (Chinese basic) and some capacitors ...
It turns out that I have done tests against a Manley Gold Reference Pro Stereo, Flea 49 (pickups in the same spirit).
Our SCT 2000 is not at all ridiculous if we make a slight dip at 3.5Khz we get a sound very close to the Manley ...
The advantage of this bump at 3.5Khz is to be able to place it directly in a mix, it limits the treatments, so we work faster and better.

When I need a warm sound (but not too much), this is my first choice.
I have 2 couples of SCT 2000, and I think to buy a 3rd very fast, so this micro is versatile ...
I use it as well on
_the voices
_the acoustic guitars,
_overs-heads of battery or main pair for a duo.
_the saxophones
_the trumpets (at a respectable distance to more than 70cm)
_I also record bagads (and pipe bands) Scottish bagpipes, and snare drums with, it's silky and not aggressive in pairs and on desks.
_A main cue for an orchestral sound recording or even a string quartet.
_For double bass, it does as well as a TLM170.
_On a piano it's fabulous, the sound is very rich and balanced.

I intend to acquire a 3rd pairs, which would also allow me to make the 5.1 takes. and to have one in relief if one of the 5 T-Bones falls on the ground during a catch.
I had the body of the microphone painted black and I also removed a grid (to limit the reflections).
This microphone is really amazing, it's my microphone to do everything in studio!
More recently I record 2 couples in parallel (1 couple small capsule right next to the T-Bone) and I realize that I rarely choose the small capsules to the final mix ...

I am often asked for advice on tubes:
I recommend the GE 6072 JAN 5 stars, the compression of the lamp works well.
The Mullard, still in 6072, is a little more expensive, it works very well too.

The delivery as always with Thomann is very fast, it is still as efficient ...

Small flat for the look: the varnish of the micro oxidizes very quickly on the first series ...
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Good to start, relatively great.

Michael K. 790, 19.09.2012
I'm making recordings in my small homestudio with Rode NT 1-A over tube preamp ART Studio V3 in a Boss BR-1200. In order to give my somewhat used voice more volume and depth I wanted to test a tube microphone and ordered the SCT 2000.

First I realized that the signal for the full control of the BR-1200 was not sufficient, despite phantom power. So I switched the preamp in between, in "flat" setting. The same piece, previously recorded with Rode, sounded with the t. Bone voluminous and bassier. The rode seemed slightly flat and hollow. After several tests, however, I also had to conclude that the bass reinforcement is something to the detriment of Brilliance. My impression is that you have lowered the heights so that the depths are more effective. The sound also appears a bit rough, sandy, which is not necessarily disadvantageous.

Facit: It depends on the voice and the piece. I can imagine singers who say right away: "That's it," especially if they had previously only worked with dynamic mics. Then the t. Bone a good and especially a cheap entry.
In my case I expect more, because I want to have Brilliance, which for other singers at the t. Bone may be sufficient. So I will continue to test and move into higher price classes.
If you look at what Neumann and Brauner products cost, the t.-bone can only be described as relatively great. But it must fit.
So I returned it after long hesitation and after a few days without problems my money back. Thanks to Thomann. Sensible tests are only possible in our own environment.
Note: If you want to buy the micro, you should also order a stand with a deep center of gravity. The micro is heavy and overloads a normal gallows.
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