1-AMG C-ducer CP Stereo CQS8 With Two 8" Microphones With Mic Pre-amps #2

SN:5754

SN:5759

Incredible 0.1Hz to 1MHz

Acoustic stringed instruments

Piano & Harp 

Drums & Percussion

NICE CLEAN LIGHTLY USED CONDITION. THE FOAM HAS GONE BAD IN THE CASE SO I CLEANED EVERYTHING UP BEFORE TESTING AND TAKING PICTURES. I WILL BE CLEANING OUT ALL OF THE OLD FOAM AND PUTTING SOME SOFT FOAM IN IT;S PLACE BEFORE SHIPPING.  EVERYTHING YOU SEE IN MY PITCURES IS WHAT YOU WILL RECEIVE. 

I ALSO HAVE MORE C-DUCER MICS IN SOME OF MY OTHER LISTINGS. ANOTHER STEREO SET LIKE THIS ONE EXCEPT IT HAS DETACHABLE PREAMPS (CQS8/P), 2-MONO SETS (CP MONO CQM/2) WITH TWO 8" MICS TO ONE MALE 3 PIN XLR AND A MONO CX SERIES SYSTEM WITH 8" MIC AND PREAMP BOX WITH LEVEL CONTROL. 

The CQS8/P is the same as the CQS8 but has detachable preamps. This is useful as damaged tapes can be replaced without having to replace the preamps as well.

The C-ducer (Capacitive-Trans-ducer) is a contact condenser microphone. It is light in weight so as to minimize interference with the vibration of the instrument to which it is attached, and it has a phenomenal dynamic range (the transducer itself has a dynamic capability of >155dB) and can handle the amplitudes within a bass drum without distortion.

The frequency response of the transducer is an incredible 0.1Hz to 1MHz, although this is deliberately restricted within the preamplifier to minimize induced noise and interference. Two lengths of C-ducer tape are available, 3 (7.5cm) and 8 (20cm). The shorter length is suitable for smaller instruments (violin, folk harp, banjo etc), and the longer tape is designed for other acoustic stringed instruments (double-bass, ,cello, acoustic guitar etc), drums and piano.

Sound Effects: C-ducer is a very useful tool in the sound effects department. It is easily stuck to a creaky door, floorboards (for picking-up footsteps), a typewriter or virtually anything that makes a sound. 

Under Water: C-ducer makes an excellent hydrophone. It does however, require a waterproof coating or sheath if prolonged immersion is anticipated. 

Industrial & Mechanical Vibration: The sound emitted by worn bearings in an engine or gear train can be readily detected by attaching the C-ducer to the engine block or transmission case. Where excessive heat prevents direct contact, C-ducer can be wrapped around a rod or screwdriver, the end of which is pressed against the block or case. An industrial preamplifier is available for use when frequency response beyond that of audio is required. 

Electric Instruments: An interesting and appealing sound can be obtained by putting a C-ducer on the headstock of a guitar or electric bass. This sound can then be mixed with the signal from the electric pickups if desired. Parts of the body on electric instruments also frequently produce appealing sounds. Using this acoustic signal for one half of a stereo sound can be very interesting. 

Kit includes

2 x microphones

2 x Pre amps

Hi Low Tape

1 x reel Hi Tac

2 x Pre Amp Clips

1 x Manual

In the nineties, the record buying and concert-going public expects great things for their dollar. Natural sound reproduction is possible in both live and pre-recorded environments. One tool that helps make it possible is the C-Ducer. C-Ducers are contact condenser microphones. These microphones can be placed on any desired surface with the supplied contact tape. A long cable lead from the microphone to the mixing console allows versatility in placement.

There are a couple of different models available, and I was fortunate enough to try a few of them.

First, the professional series CPS/8 is a stereo pair of 8“ contact mics that come with 600 ohm XLR connectors on a 6’ lead. These microphones require phantom power on a standard pin-1 ground, pin-2 live, pin-3 return configuration. If required this pattern can be altered with an unbalanced power supply, allowing a pin-1 ground, pin-2 live, pin-3 disconnected configuration. This stereo set is recommended for piano, harp, and small keyboard instruments.

I found the output of these mics to be very strong and very true to the source sound. The mics are capable of reproducing a bandwidth of 0.1Hz to 1MHz. This output is restricted by the pre-amp to minimize inducted noise and interference. The mics have a dynamic range of >155dB, which make them accessible to percussion and other instruments of a large dynamic nature. 

I’ve had good luck with these microphones on harp and piano in a live environment. On a harp I affixed the mic to the plucking side, placing one microphone on the upper register. This resulted on a great blend of all the notes on this traditional-sounding instrument. The only thing necessary after that was an HPF on the associated channel. to be tuned on both the upper and lower microphones, and very slight equalization to fit the instrument into the right space in the mix.

I then tried these microphones on a piano, once again in a live environment. The piano took a little more experimentation. The piano was a baby grand which the performer played mostly in the middle of the keyboard, making the typical placement of microphones at either end of the keyboard unwise. Placing one C-ducer close to the hammers in the middle of the keyboard and one directly behind it - away from the contact of the hammers - created a great mix of the attacking sound and the resonant sound of the piano.

In both live situations, I was fortunate to have a quiet performance level which did not require a lot of monitor of P.A. volume. This allowed me to keep the mics close to their original sound without having to over-equalize to compensate for volume.

Another positive feature of this product is that you don’t need to fret about a mic stand or an expensive mic clip replacement. These mics are low profile and are mounted with an adhesive tape that is supplied with purchase. They can be permanently mounted to an instrument with a heavy duty adhesive tape, also supplied.

I did not have the opportunity, but would be very keen of hearing the results of these microphones in a controlled environment. The studio would allow the full appreciation of these mics. There are other applications, somewhat controlled, that would also allow these mics to be used. Using these mics to ambient mic for foley work, sampling, or a live recording, perhaps even as the supplied literature recommends: milking an engine block. C Ducer could also be used in a boardroom, taped to a table or podium to pick up those important moments of a director’s meeting. Their non-obtrusive packaging allows for this sort of versatility. Keep in mind that you do not need to feel obligated to use these mics as a constant stereo pair; a mic can be used by itself still achieving the same results.

The CPS/8 mics come in a handed hard plastic case which includes replac ement adhesive tape and a strong adhesive tape for a permanent installation. Along with the clearly laid out applications and technical information, the supplied paperwork also refers to the notable people who use the C-ducer contact microphone system. They allow a good portion of the desired miking area to be covered, the only limits being your own creativity. If you are serious about sound in the home studio or the live environment, these microphones are a great option. 

Stringent Packing.