Micro de scène Behringer C-2

The Behringer C-2 is a wired stage condenser microphone designed for capturing vocal and acoustic performances with clear, accurate sound. The microphone offers a frequency range of 20–20,000 Hz and a sensitivity of ‑41 dB, paired with a signal-to-noise ratio of 75 dB for low-noise capture. Compact and lightweight, the C-2 uses an XLR-3 interface and requires phantom power for its active circuitry. Low current draw (approximately 3 mA) and small physical dimensions make it suitable for both live and studio setups.

Advantages

The C-2 provides a cardioid polar pattern that focuses on the desired sound source while reducing off-axis noise. Its condenser design delivers higher sensitivity than typical dynamic microphones, allowing subtle details of voice and acoustic instruments to be reproduced. The microphone’s transformerless FET input stage supports wide dynamic range without introducing notable distortion, and the gold-plated XLR connector ensures reliable signal transfer. Compact dimensions and low power consumption make it convenient for portable and multi-mic configurations.

Suitable for

• Live vocal performances and stage reinforcement
• Studio recording of vocals, choirs and acoustic instruments
• Overhead and stereo miking (paired operation)
• Field or rehearsal setups where compact wired microphones are preferred

Key specifications

• Microphone type: condenser
• Polar pattern: cardioid
• Frequency response: 20–20,000 Hz
• Sensitivity: -41 dB
• Signal-to-noise ratio: 75 dB
• Connector: XLR-3 (gold-plated contact described by manufacturer)
• Power: requires phantom power (+48 V DC)
• Current draw: approx. 3 mA
• Maximum sound pressure handling: high dynamic range (manufacturer-stated capability)
• Dimensions: ~20 mm (width/height) x 94 mm (depth)

How to use

Connect the Behringer C-2 to a mixer or audio interface that provides +48 V phantom power via the XLR-3 connector. Position the microphone with its cardioid pattern aimed at the sound source to prioritize direct sound and reduce ambient pickup. For stereo or overhead applications, use matched pairs and the supplied stereo bar or appropriate mounts to maintain consistent spacing and alignment. Adjust preamp gain to achieve a clean level without clipping; due to the microphone’s sensitivity, moderate gain is often sufficient for vocal and acoustic sources.

Recommendations

Use a shock mount or supplied adapter and a windscreen when close-miking to reduce handling and wind noise. When recording loud sources, consider using a pad or lowering preamp gain to avoid saturation. For stereo recording of choirs, pianos or acoustic ensembles, use matched pairs and maintain consistent microphone geometry for balanced imaging.