Application Notes
The C02 is a great microphone choice for many instrument miking situations. Below is a
brief guide on using the C02 in some typical applications.
Acoustic Guitar
There are a variety of ways that the C02 can be used to mic an acoustic guitar. The micro-
phone placement will depend on the type of instrument and what kind of sound you’re look-
ing to capture, for example the tonal quality you want to focus on, and how much finger
slide or pick noise you may or may not want. When miking a standard steel string acoustic,
a good place to start is with the microphone positioned pointing towards the end of the fin-
gerboard at a distance of about 6 inches to 2 feet away from the instrument. You can
experiment by moving the microphone slightly in the direction of the sound hole, which will
produce more low frequencies, or move it in the direction of the fingerboard to capture
more high-end or to remove any unwanted boomieness. For nylon string acoustic try posi-
tioning the microphone above the bridge to emphasize more of the attack from the sound
of the finger picking, or for less, move the mic closer to the sound hole. If you have a pair of
C02’s, try one positioned at the fingerboard and the second over the sound hole.
Piano
You can achieve outstanding results using the C02 on acoustic piano. Several placement
approaches can be used depending on the size of the piano, and the type of sound you
are looking to record. When miking a Grand Piano for an ambient sound like that used in a
classical recital, a single C02 can be positioned directly in front of the instrument. Open the
lid to the full position and place the microphone five to twenty feet in front on the instru-
ment. For a more contemporary ensemble sound, place two C02’s in the piano positioning
one over the low strings and the other of the high strings.
Overhead Drum Kit
Because of it’s extended high frequency response and fast transient response the C02 per-
forms outstandingly when used as an overhead cymbal microphone. You can position one
C02 on a boom mic stand directly above the kit pointing from front to back. For stereo mik-
ing, use two C02’s placed over the drum set at a distance of three to five feet. You can
experiment with the exact placement depending on the size of the room and whether you’re
looking for an ambient or close-miked sound. In general, when miking a drum kit it’s a good
idea to start with the overhead mics. Even though you use the overhead mics mostly for the
cymbals, try to get the entire kit to sound great in the overheads. Then it will be easier to
just bring up your individual mics for more attack and thickness in the overall sound.
Hi Hat
The C02 is a perfect microphone for miking Hi Hats thanks to its smooth top end and the
ability to capture fast attack transients. Try placing the microphone over the edge of the top
cymbal. Experiment by moving the mic further over the cymbal to produce more of a stick
sound, but keep in mind it may pick up more of the kit. Remember that the C02 has a car-
dioid frequency response, so position the microphone in the direction of the Hi hat, but for
increased separation, be sure to point the mic away from other drums or cymbals whenever
possible.
C02 Applications Notes
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