Some time before Christmas, Don made an interesting comment in
that he was "surprised that the AKG C1000s was still in production
due to its poor reputation"

The AKG C1000s is as a budget level condenser mic ("condensor"
for Arny) and, according to the dealer I spoke to, one of their
strongest selling lines.

So who buys them, and for what purpose?

It seem that theatres, churches, and concert venues are the main
customers. The mic is popular due to its "enhanced speech intelligibility"
option, an insert module which shapes the response between 4kHz
and 9kHz.

When I asked a colleague of mine in the UK about this mic, his
first reaction was "great for rock'n'roll piano" He later modified
this to "groove piano" which allows an easier association.

His technique was similar to that used back in the 60s, a
Fairchild 670 compressor set with fast gain and a slowish
recovery time. To compensate for the roll off of the HF a
Pultec EQ was daisy chained before the insert return to
brighten the sound.

The dealer offered me a pair for extended evaluation.

The mic, which measures 23cm x 3cm comes in a sturdy
aluminium foam-padded case, together with a six-language
manual. The case also contains the clip to attach the mic to a
stand, a wind shield, and two plastic inserts, PPC1000 and
PB 1000 used to modify the polar and frequency response
of the microphone.

http://www.kolumbus.fi/iain.churches...G-C1000S01.jpg

For clarity, here are the bits and pieces out of the case.
http://www.kolumbus.fi/iain.churches...G-C1000S02.jpg

It requires DC (phantom) power from either the recording
console, or internal batteries (included) An AKG N
series phantom supply (not included) could also be used.

The mic, made in Poland, is solidly constructed, with a substantial
wire mesh top cage. It has a recessed ON/OFF switch for the
internal batteries if used, and a LED indicator to show state of charge.

The PPC 1000 insert is a polar pattern converter to change the mic's
pickup pattern from cardioid to hypercardiod, which makes it
even less sensitive to pickup from the sides and rear, and allows
the use of higher gan before feedback when using stage or
playback monitors.

The PB 1000 insert module is a "presence boost adapter"
which gives a 5dB lift between 5kHz and 9kHz for optimum
speech intelligibility.

For music, the C100S is a bright mic as it stands, and a very
bright mic with the PB1000 insert fitted:-)

My colleague had recommended it for "groove piano" in
concert applications. I have to say I was a little disappointed.
Maybe I was expecting too much? The brightness at the top
end made the LF sound a rather light, and it was not easy to
achieve the full, firm (but not fat) LF sound one gets from a
pencil Neumann in this application. But then, one has to
remember that the Neumann is nearly than ten times the price.
You get what you pay for.

It struck me that the bright characteristic of this mic could be
used to advantage other than in concert applications, for
recording of instruments such a celeste, or tuned percussion,
glockenspiel, bar chimes, bell tree, etc. The sound was
pleasing - clean, clear and bright, with adequate gain.

My next thought was to try the pair of C100s as a top
pair on drums to cover the two loose cymbals
(the lack of a 10dB input attenuator probably makes
this mic unsuitable for general drum use, snare, toms etc)

Top mics on drum kits get hit fairly often by flailing
sticks, and the cost of replacement for capsule and cage
for this mic is only a fraction of the cost of replacement on
a Neumann. Once again the mics performed well in the
chosen application. With a forward facing capsule you can
set the mic very close to and in line with the rim of a ride,
sizzle or rivet cymbal and hear the air "swish" plus a Doppler
effect as the cymbal swings.

The dealer offered a three year warranty (not covering
physical damage) which indicated faith in a keenly-priced
product.

There is a mag review at.

http://www.soundonsound.com/sos/dec9...gc1000.576.htm


I have this pair on extended loan, so will have the chance to
try them in a number of different applications. I don't think
baroque cello will be one of them:-)

Iain

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:

Some time before Christmas, Don made an interesting comment in
that he was "surprised that the AKG C1000s was still in production
due to its poor reputation"

The AKG C1000s is as a budget level condenser mic ("condensor"
for Arny) and, according to the dealer I spoke to, one of their
strongest selling lines.

So who buys them, and for what purpose?

It seem that theatres, churches, and concert venues are the main
customers. The mic is popular due to its "enhanced speech intelligibility"
option, an insert module which shapes the response between 4kHz
and 9kHz.

When I asked a colleague of mine in the UK about this mic, his
first reaction was "great for rock'n'roll piano" He later modified
this to "groove piano" which allows an easier association.

His technique was similar to that used back in the 60s, a
Fairchild 670 compressor set with fast gain and a slowish
recovery time. To compensate for the roll off of the HF a
Pultec EQ was daisy chained before the insert return to
brighten the sound.

The dealer offered me a pair for extended evaluation.

The mic, which measures 23cm x 3cm comes in a sturdy
aluminium foam-padded case, together with a six-language
manual. The case also contains the clip to attach the mic to a
stand, a wind shield, and two plastic inserts, PPC1000 and
PB 1000 used to modify the polar and frequency response
of the microphone.

http://www.kolumbus.fi/iain.churches...G-C1000S01.jpg

For clarity, here are the bits and pieces out of the case.
http://www.kolumbus.fi/iain.churches...G-C1000S02.jpg

It requires DC (phantom) power from either the recording
console, or internal batteries (included) An AKG N
series phantom supply (not included) could also be used.

The mic, made in Poland, is solidly constructed, with a substantial
wire mesh top cage. It has a recessed ON/OFF switch for the
internal batteries if used, and a LED indicator to show state of charge.

The PPC 1000 insert is a polar pattern converter to change the mic's
pickup pattern from cardioid to hypercardiod, which makes it
even less sensitive to pickup from the sides and rear, and allows
the use of higher gan before feedback when using stage or
playback monitors.

The PB 1000 insert module is a "presence boost adapter"
which gives a 5dB lift between 5kHz and 9kHz for optimum
speech intelligibility.

For music, the C100S is a bright mic as it stands, and a very
bright mic with the PB1000 insert fitted:-)

My colleague had recommended it for "groove piano" in
concert applications. I have to say I was a little disappointed.
Maybe I was expecting too much? The brightness at the top
end made the LF sound a rather light, and it was not easy to
achieve the full, firm (but not fat) LF sound one gets from a
pencil Neumann in this application. But then, one has to
remember that the Neumann is nearly than ten times the price.
You get what you pay for.

It struck me that the bright characteristic of this mic could be
used to advantage other than in concert applications, for
recording of instruments such a celeste, or tuned percussion,
glockenspiel, bar chimes, bell tree, etc. The sound was
pleasing - clean, clear and bright, with adequate gain.

My next thought was to try the pair of C100s as a top
pair on drums to cover the two loose cymbals
(the lack of a 10dB input attenuator probably makes
this mic unsuitable for general drum use, snare, toms etc)

Top mics on drum kits get hit fairly often by flailing
sticks, and the cost of replacement for capsule and cage
for this mic is only a fraction of the cost of replacement on
a Neumann. Once again the mics performed well in the
chosen application. With a forward facing capsule you can
set the mic very close to and in line with the rim of a ride,
sizzle or rivet cymbal and hear the air "swish" plus a Doppler
effect as the cymbal swings.

The dealer offered a three year warranty (not covering
physical damage) which indicated faith in a keenly-priced
product.

There is a mag review at.

http://www.soundonsound.com/sos/dec9...gc1000.576.htm


I have this pair on extended loan, so will have the chance to
try them in a number of different applications. I don't think
baroque cello will be one of them:-)

Iain


Yes, that pretty fairly sums up this mic. Bright - too bright for many
applications and harsh is a description I've often heard. Of course
any flavour of mic will find an application, even if it is "enhanced
intelligibility" in a church, oxymoron though that clearly is.

d

"Don Pearce" wrote in message

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:

It struck me that the bright characteristic of this mic
could be used to advantage other than in concert applications, for
recording of instruments such a celeste, or tuned
percussion, glockenspiel, bar chimes, bell tree, etc.
The sound was
pleasing - clean, clear and bright, with adequate gain.

Yes, that pretty fairly sums up this mic. Bright - too
bright for many applications and harsh is a description
I've often heard. Of course any flavour of mic will find
an application, even if it is "enhanced intelligibility"
in a church, oxymoron though that clearly is.


Several reports of the C1000 making most things sound " glassy and
unnatural".

"Arny Krueger" wrote in message
...
"Don Pearce" wrote in message

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:

It struck me that the bright characteristic of this mic
could be used to advantage other than in concert applications, for
recording of instruments such a celeste, or tuned
percussion, glockenspiel, bar chimes, bell tree, etc.
The sound was pleasing - clean, clear and bright,
with adequate gain.

Yes, that pretty fairly sums up this mic. Bright - too
bright for many applications and harsh is a description
I've often heard. Of course any flavour of mic will find
an application, even if it is "enhanced intelligibility"
in a church, oxymoron though that clearly is.


Several reports of the C1000 making most things sound " glassy and
unnatural".

Several reports? So you have no first hand experience?
This is quite a step back from your initial "the AKG C1000
sound like ****" statement, isn't it?

Iain Churches wrote:
"Arny Krueger" wrote in message
...
"Don Pearce" wrote in message

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:
It struck me that the bright characteristic of this mic
could be used to advantage other than in concert applications, for
recording of instruments such a celeste, or tuned
percussion, glockenspiel, bar chimes, bell tree, etc.
The sound was pleasing - clean, clear and bright,
with adequate gain.
Yes, that pretty fairly sums up this mic. Bright - too
bright for many applications and harsh is a description
I've often heard. Of course any flavour of mic will find
an application, even if it is "enhanced intelligibility"
in a church, oxymoron though that clearly is.

Several reports of the C1000 making most things sound " glassy and
unnatural".

Several reports? So you have no first hand experience?
This is quite a step back from your initial "the AKG C1000
sound like ****" statement, isn't it?



This is more of the 'whose opinions I trust' hearsay BS which
'mandarins' are prone to peddle in the full expectation there's no-one
in a position to challenge them...

"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Don Pearce" wrote in message

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:

It struck me that the bright characteristic of this mic
could be used to advantage other than in concert
applications, for recording of instruments such a
celeste, or tuned percussion, glockenspiel, bar chimes, bell tree, etc.
The sound was pleasing - clean, clear and bright,
with adequate gain.

Yes, that pretty fairly sums up this mic. Bright - too
bright for many applications and harsh is a description
I've often heard. Of course any flavour of mic will find
an application, even if it is "enhanced intelligibility"
in a church, oxymoron though that clearly is.


Several reports of the C1000 making most things sound "
glassy and unnatural".

Several reports? So you have no first hand experience?

Neither did you Iain, and that didn't stop you from recommending it and
supporting that reccomendation.

I don't know anybody who has much budget or time for mics with the sort of
reputation that the C1000 has.

Apparently not even you Iain.


This is quite a step back from your initial "the AKG C1000
sound like ****" statement, isn't it?

No, its an obvious clarification. I know very few people who are stupid
enough not to see the relationship between the two statements.

"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Don Pearce" wrote in message

On Mon, 11 Jan 2010 16:27:49 +0200, "Iain Churches"
wrote:

It struck me that the bright characteristic of this mic
could be used to advantage other than in concert
applications, for recording of instruments such a
celeste, or tuned percussion, glockenspiel, bar chimes, bell tree,
etc.
The sound was pleasing - clean, clear and bright,
with adequate gain.

Yes, that pretty fairly sums up this mic. Bright - too
bright for many applications and harsh is a description
I've often heard. Of course any flavour of mic will find
an application, even if it is "enhanced intelligibility"
in a church, oxymoron though that clearly is.


Several reports of the C1000 making most things sound "
glassy and unnatural".

Several reports? So you have no first hand experience?

Neither did you Iain

I have now:-)


and that didn't stop you from recommending it and supporting that
reccomendation.

If you check what I wrote, you will find that I did not
recommend it (how could I?) but asked a colleague
in the UK who stated it was good for "groove piano"
That's what got me interested.

I don't know anybody who has much budget or time for mics with the sort of
reputation that the C1000 has.

Damn its reputation Arny. In chosen applications it performs
well. I think a pair will be very good as rock drum kit overheads.
The body and cage of the mic are very substantial so propbably
less prone to damage. The capsule replacement is far less
expensive than the Neumann equivalents.

This is quite a step back from your initial "the AKG C1000
sound like ****" statement, isn't it?

No, its an obvious clarification. I know very few people who are stupid
enough not to see the relationship between the two statements.

You made them both! Both were judgements on a mic you had
never heard.

Iain

Iain

"Don Pearce" wrote in message
...

Yes, that pretty fairly sums up this mic. Bright - too bright for many
applications and harsh is a description I've often heard.

Bright instruments (glock, celeste etc) sounded quite good -
crisp and clean. No sign of harshness, but this might show itself
more on vocals. A 50's rock'n'roll tenor saxophone might be
fun too:-)

http://www.youtube.com/watch?v=Z7Ymov6JhRE

Of course
any flavour of mic will find an application, even if it is "enhanced
intelligibility" in a church, oxymoron though that clearly is.

I can't imagine that I would ever find a use for the presence boost
module. I wonder if that merits a 15p discount? :-)

On Tue, 12 Jan 2010 08:15:31 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...

Yes, that pretty fairly sums up this mic. Bright - too bright for many
applications and harsh is a description I've often heard.

Bright instruments (glock, celeste etc) sounded quite good -
crisp and clean. No sign of harshness, but this might show itself
more on vocals. A 50's rock'n'roll tenor saxophone might be
fun too:-)

http://www.youtube.com/watch?v=Z7Ymov6JhRE


Well, the sound of Dan the Music Man on the Vinylvend channel was
exactly what I would call harsh. Was he using a C1000s maybe?

Of course
any flavour of mic will find an application, even if it is "enhanced
intelligibility" in a church, oxymoron though that clearly is.

I can't imagine that I would ever find a use for the presence boost
module. I wonder if that merits a 15p discount? :-)


And of course every recording engineer has such a thing at his
fingertips on his eq panel. No need to spend extra.

d

"Don Pearce" wrote in message
...

Well, the sound of Dan the Music Man on the Vinylvend channel was
exactly what I would call harsh. Was he using a C1000s maybe?

:-)

There are lots of examples of "harsh mixes" Take a listen to a
very good song by Kirsty MacColl. It was a nicely-made
multitrack, but the vinyl single has outrageous compression and EQ -
even more than on the YouTubeclip. It was loud on the radio, though:-)
This was "fashionable" long before the advent of CD.

http://www.youtube.com/watch?v=t1oKU5BJ4bQ

Iain