RECORDING March 2024 - 61

REVIEW
Sony C-80
Condenser Microphone
The famed C-Series gets an affordable new entry
REVIEW BY ALEX HAWLEY
he Sony C-Series pedigree is built on modern classics like
the rare and costly C-800G tube microphone (easily spotted
by the heat-sink jetting out from the body), along with
newer models that range in price and use case. The common
thread among C-Series microphones is a distinct high-end sheen,
a characteristic that, among other studio uses, has become
synonymous with modern vocal recording. Needless to say, I
was delighted at the opportunity to see how the latest entry, the
affordable Sony C-80, fits into the illustrious family.
should first take a brief look at the Sony
C-100. The C-100 was released in 2018
and features a unique second capsule
above the main capsule designed to
capture ultrasonic frequencies (up to
50 kHz-nope, not a typo). The C-100
also includes additional polar patterns,
a pad and a low-cut filter. However, at
$1,699 (MSRP) it's still a reasonable
investment for home and project-level
studios to attain a piece of the C-Series
sound. That's where the new C-80
comes into play-it combines elements
from both the C-100 and C-800G while
aiming to capture their essence at an
approachable price point. At $499, the
C-80 is less than a third of the cost of the
C-100 and roughly five percent of the
flagship C-800G.
Family Characteristics
The C-80 features a main capsule
similar to the one found in the C-100
with a 1 " diaphragm. Notedly, it uses
the same diaphragm material as the
C-800G. Physically, at 6.22 " tall and
1.57 " in diameter, it's right in line with
the C-100, measuring about a half-inch
shorter. It also retains the pad and lowcut
filter switches found on the body of
58 RECORDING March 2024
Meet the C-80
The Sony C-80 is a cardioid-only, medium-diaphragm
condenser microphone
designed for general studio use like vocals
and acoustic instrument recording.
It ships with a soft-shell foam-lined case
and dedicated shock mount. Both are
welcomed inclusions, especially at this
price point. The shock mount is primarily
plastic but is easy to articulate and
securely locks the C-80 in place, even
when orienting it upside down or in
harder-to-reach spots.
There isn't much overt aesthetic or
vibe to the C-80; rather, its sleek, classic
black finish is on par with other Sony
models, and it blends into a studio environment
without attracting too much
attention. Its construction is made of
die-casted zinc, chosen for its resilience
against vibrations.
Specs
The C-80 is a full-range microphone
(20 Hz-20 kHz) with less than 12.5dB SPL
of self-noise. Interestingly, the self-noise
metric comes in quieter than its C-100
sibling. The pad switch on the body
provides -10dB of attenuation, while the
low-cut filter effectively removes low rumbles.
The documentation doesn't include
specifics on the slope or frequency of the
low-cut, but I ran some tests and found
roughly 3dB of attenuation from 75 Hz
and lower-certainly on the gentle side.
Sounds
First impressions of the C-80 came
in the form of vocals. The characteristic
C-Series sheen was immediately present,
which sits around 13 kHz-just
above the sibilance range for most singers.
The extra energy translates as detail
and clarity, while the sibilance range
remains natural and true to life. I didn't
have a C-800G or C-100 on hand to
do some " family of " comparisons, but I
have recorded with a C-800G several
times, and the C-80 captures its essence
as I remember (and I referenced some
of my previous
recordings
using
the
C-800G to confirm).
An accurate midrange and full-bodied
low-end nicely support its presence
peak. On some sources, the 600-800
Hz range felt ever so slightly pulled
back, but at 1 kHz and beyond, the
sound remained consistent, detailed and
T
Welcome to the Family
To better contextualize the C-80, we
the C-100 (just not the polarity options). The
C-80 incorporates what Sony describes
as " Noise Elimination Construction, "
a two-part metallic body structure used
in both predecessors.
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