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Series Seven microphones provide unprecedented flexibility, as the directional pattern of the mic can be adjusted in use, during or after recording. C700 microphones include omni/pressure and figure-8/gradient capsules, each with a discrete output. The signals can be recorded on separate tracks, so the pattern can be selected in mixdown. Pattern control is only one advantage of this technique. Applying different equalization or dynamic control to the capsule signals makes entirely different mic characteristics – for instance the warmth of a gradient mic used close up for vocals might be combined with the transparency of a pressure mic in the highs, by rolling off the high frequencies in the gradient signal and the lows in the pressure signal before they are combined. The C700A includes two capsules in one housing, a 16mm omni element similar to the KA11 capsule in the Series Six, and a 26mm figure-8 capsule. Completely neutral electronics, using the same cascode FET input, class-A active balanced output circuit found in the Series Six, are provided for each signal. Any directional pattern from omni to figure-8 may be selected by controlling the ratio of pressure to gradient signals. The C700S (listed here) microphone has three capsules; an additional side-facing figure-8 capsule is added to the two in the C700A. Any coincident stereo pickup can be derived from mixing these three signals together, and like the C700A, the signals can be recorded individually and all aspects of image width and pattern control may be adjusted in the mixdown. With the three capsule signals, any number of microphone outputs may be created, each one pointed anywhere in the plane around the microphone. The capsule assembly in the Series Seven is internally shock mounted, so that the mic may be attached directly to a stand through its yoke mount without any external accessories. Specifications common to C700 series Pressure and pressure gradient condenser microphone transducers Variable directional pattern achieved by mixing output signals (see over) Frequency range 20-20,000 Hz ±2 dB from reference curve Sensitivity –41 dB ref 1 V/Pa (9 mV/Pa) for each signal Overload sound pressure 135dB SPL at 1kΩ load for <1% THD Equivalent noise level 15 dB SPL, A-weighted Power supply P48 phantom, 4 mA per output Diameter 63mm (100 mm wide at yoke), length 328 mm (C700A), 365 mm (C700S) Output connector 5-pin XLR type (C700A), 7-pin XLR type (C700S)


Soundfield ST450 MKII or Josephson C700S

...and simple as possible, so to that end, I'm considering the purchase of one of these two mics. - Josephson C700S or - SoundField ST450 MKII As it doesn't look like I can get a demo of either before the session start. I was wondering if anyone here has used either of these in...

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What is the sluttiest thing you have bought in the year 2018 ?

Bought a lot of "Slutty" things already this year, but this one arrived today! Josephson C700S !

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Anything better than km184s/84s for OHs?!

I have a Josephson c700s that I've used a couple of times on overheads, but unfortunately the session never finished and I can't share any's amazing though. Big, smooth sound, any source seems to sit just right w/ the c700s. With the option to process for different polar patterns once...

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