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AKG C 451 B Stereo

Stereo set consisting of:

2 Condenser Microphones AKG C 451 B

  • Polar pattern: cardioid
  • Nickel plated
  • Switchable HP (75/ 150 Hz) and pad (-10/ -20 dB)
  • CK 1 capsule
  • Ideal for overhead, hihat, percussion, acoustic guitar
  • The classic reissued
  • Incl. windshield W90, clamp SA60 and metal case
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  • Bossa Wet
  • Strumming Dry
  • Strumming Wet
  • Bossa Dry
  • Blocks Dry
  • Blocks Wet
  • Cymbals

Further information

Battery Powered No
Directional Microphone No
Stereo Pair Yes
switchable lowcut Yes
switchable pad Yes
characteristic kidney

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Our most popular Small-diaphragm Microphones
19 customer ratings:
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4.7 / 5.0
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10 written ratings Read all reviews
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Excellent microphone for a great price

03.03.2017
Excellent microphone for a great price.
thanks Thomann
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Total
features
sound
quality

Small diaphragm with small weaknesses

Dantschge, 08.10.2009
Since I had to change from XY stereophony to ORTF stereophony in 2009, universal small diaphragm microphones have been recommended for the purpose. Already since the 80's I own an excellent stereo microphone from AKG, with which I had all my performances so far, and of whose quality I am still excited today. That's why my look had fallen back on the AKG brand.

Particularly suitable are small diaphragms with a decided elevation elevation, which thereby absorb more presently in the diffuse field (that is, if the room sound during the recording plays with a roll and is not exclusively a direct sound). The first choice would of course have been the KM series from Neumann, but because of the much cheaper price at the time of purchase (May 2009), I decided for a measured stereo pair AKG C451 B. Today (2015) I would either to significantly cheaper RODE rods or equal to the Neumannern (which were also times more expensive).

The sound of the AKG microphones is very airy and transparent (occasionally also almost a bit sharp) and leaves no desire for any frequency range. My concert recordings have become much better and more plastic since the use of the AKG stereoset, thanks to the now possible ORTF arrangement, which can be realized practically only with two individual microphones or with special microphones (eg Schoeps).

Also I used the microphones in ORTF arrangement for the overhead-acceptance of a drums, which gave best results. The whole drumset comes present and dynamic over the overheads, so that for my taste only an extra snare microphone and one for the bassdrum are additionally required, in order to microphone a drumming set sound perfectly. So, for example, Queen had drummed his drums in the studio.

In connection with a C214 I recorded an acoustic guitar, the C451B at the neck and the C214 near the soundhole. Also with that I was extremely satisfied and can recommend the microphone only warmly for transiently signals. Only the somewhat exaggerated close-up effect of the C451B prevents an absolute close microphone. Possibly. The use of the built-in bass roll-off filter for near-microphone is announced here.

Also, I made a direct comparison between my AKG C451B stereophile and my AKG C214 stereophonic at a symphony concert. Both results are expected to be very good. While the C451B delivers a very brilliant, high-pitched sound (because of the increase in the higher frequencies almost a bit sharp with simultaneous post-processing with the SPL Vitalizer), the recordings with the C214 show slightly more substance and belly below. Depending on the room acoustics and the sound, it makes sense to use the C451B (with dull acoustics) or the C214 (with normal to light acoustics) to get the best recordings.

Since I use summer Cables and the SPL Vitalizer, I prefer for concert recordings the C214, because me with the C451B the heights become something too strong, which I used to be with normal cables and without the SPL Vitalizer even more desired.

Recently I took a Cajon and hand percussion (Congas, Guiro, Shaker, etc.) with the two C 451 B live. Our percussionist was quite enthusiastic, because he had problems with the Cajon with other microphones on other occasions. With me he did not need EQ and was very satisfied with the sound. Only the stronger close-up effect of the C451B led to the fact that the bass beat of the Cajon, which was removed from the rear near the soundhole, was somewhat distorting and tumming. Possibly. I should have used the bass reduction filter. But as usual, was not enough time for an extensive soundcheck, or the problem only afterwards noticed in the multi-track recordings.

A personal microphone comparison with recordings of my double bass shows that the very low frequencies are already somewhat aroused by the strong close-up effect, in contrast to all other tested microphones. My new EV RE320 combats the close-up effect due to the construction, which makes the contrabass sound very good (here clear winner for double bass against the C451B).
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499 €
You save 54,60 % (600 €)
Free shipping incl. VAT
Due back in stock on 30.06.2017
Due back in stock on 30.06.2017

This item is due in on the date shown above and can then be sent with immediate effect.

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