+7 (983) 302-31-55
sales@chepmanaudio.com
sales@chepmanaudio.com
C87 studio microphone by Chepman Audio is in mass production.
Chepman C87 is a classic studio condenser microphone C87 with a large diaphragm, updated for modern recording
The flat frequency response makes this microphone an ideal choice for any source.
Three directional patterns – circle, cardioid and eight
Attenuation of the output signal by 10dB for loud sound sources
Low frequency cutoff
Shock absorber and wooden box included.
The flat frequency response makes this microphone an ideal choice for any source.
Three directional patterns – circle, cardioid and eight
Attenuation of the output signal by 10dB for loud sound sources
Low frequency cutoff
Shock absorber and wooden box included.
You can get advice on products, ask a question, make an order by writing to the mail sales@chepmanaudio.com , by phone +7 (983) 302-31-55 or by direct message to the Chepman Audio group in VK https://vk.com/chepmanaudio
A great choice for any source
Linear-flat frequency response from low to high frequencies, soft presence — these are the most important qualities of the most, perhaps, universal studio microphone. Look into sessions and you'll see 87s everywhere. Piano, vocals, toms, overheads, guitar cabinets, brass, strings, congas — whatever. From recording announcers and dubbing to symphony orchestras!
If you use the C87 to capture a loud source, you'll need a switchable 10 dB microphone attenuator. When the pad is activated, the microphone senses sound pressure levels up to 127 dB — ideal for sounding volumes or stacks of guitar amplifiers. An additional switch enables the microphone's low frequencies to be cut off, which reduces unwanted hum at the microphone preamp input.
Linear-flat frequency response from low to high frequencies, soft presence — these are the most important qualities of the most, perhaps, universal studio microphone. Look into sessions and you'll see 87s everywhere. Piano, vocals, toms, overheads, guitar cabinets, brass, strings, congas — whatever. From recording announcers and dubbing to symphony orchestras!
If you use the C87 to capture a loud source, you'll need a switchable 10 dB microphone attenuator. When the pad is activated, the microphone senses sound pressure levels up to 127 dB — ideal for sounding volumes or stacks of guitar amplifiers. An additional switch enables the microphone's low frequencies to be cut off, which reduces unwanted hum at the microphone preamp input.
Studio condenser microphone with large diaphragm
Chepman C87 is the modern incarnation of the classic U87 microphone. Introduced in 1967, the U87 immediately gained popularity among sound engineers and their customers; by the mid-70s, it had become the primary microphone for everything in every world-class recording studio. And this is still the case. The popularity of the microphone is easy to understand: it opened a new era of accuracy and reliability of sound, as well as with three selectable directional patterns (cardioid, omnidirectional and eight), as well as a switchable high-pass filter and a 10 dB attenuator. The microphone is incredibly versatile and is the perfect choice for a wide range of recording methods.
Chepman C87 is the modern incarnation of the classic U87 microphone. Introduced in 1967, the U87 immediately gained popularity among sound engineers and their customers; by the mid-70s, it had become the primary microphone for everything in every world-class recording studio. And this is still the case. The popularity of the microphone is easy to understand: it opened a new era of accuracy and reliability of sound, as well as with three selectable directional patterns (cardioid, omnidirectional and eight), as well as a switchable high-pass filter and a 10 dB attenuator. The microphone is incredibly versatile and is the perfect choice for a wide range of recording methods.
Loyalty to traditions
Neumann produced the original U87 from 1967 to 1986, when it was replaced by the current version of the U87 Ai. We prefer the old version, and therefore we use an older version of the scheme; the capsule design also corresponds to the old edition. We use HK87 from Heiserman. This is a recreation of the classic Neumann k87 capsule. It is designed to work with the old u87(i) circuit and has electrically insulated rear panels. This is a smooth and rather neutral-sounding capsule, without the excessive brightness sometimes attributed to the modern U87. Output transformer AMI T13. The engineering art of the old school and modern electronics provide the closest possible sound of the U87.Switchable directional patterns
Offering a choice of three switchable directional patterns (omnidirectional, cardioid and eight), the C87 gives you impressive flexibility when it comes to learning different recording techniques. With two 87s, you can implement stereophonic methods such as spaced pair (A/B), XY (including Blumlein), ORTF array and middle side (MS).
For a full orchestra, add a third 87 for the minimalist and very effective Mercury Living Presence technique: three omni-87s spaced across the orchestral sound stage, centered above the conductor's podium.
Neumann produced the original U87 from 1967 to 1986, when it was replaced by the current version of the U87 Ai. We prefer the old version, and therefore we use an older version of the scheme; the capsule design also corresponds to the old edition. We use HK87 from Heiserman. This is a recreation of the classic Neumann k87 capsule. It is designed to work with the old u87(i) circuit and has electrically insulated rear panels. This is a smooth and rather neutral-sounding capsule, without the excessive brightness sometimes attributed to the modern U87. Output transformer AMI T13. The engineering art of the old school and modern electronics provide the closest possible sound of the U87.Switchable directional patterns
Offering a choice of three switchable directional patterns (omnidirectional, cardioid and eight), the C87 gives you impressive flexibility when it comes to learning different recording techniques. With two 87s, you can implement stereophonic methods such as spaced pair (A/B), XY (including Blumlein), ORTF array and middle side (MS).
For a full orchestra, add a third 87 for the minimalist and very effective Mercury Living Presence technique: three omni-87s spaced across the orchestral sound stage, centered above the conductor's podium.
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