the t.bone SC 400

Studio Large Diaphragm Condenser Microphone

  • 1" Gold membrane
  • Directivity: Super-cardioid
  • Frequency range: 20 - 20,000 Hz
  • Sensitivity: 23.3 mV / Pa
  • Equivalent noise level: 18 dB (A)
  • Output impedance: 120 Ohm
  • Peak SPL: 132 dB
  • Internal low cut switch at 100 Hz with 6 dB
  • Requires +48 V phantom power
  • Weight of the microphone: 351 g
  • Colour: Black
  • Shock mount and bag included
No JavaScript? No Audio Samples! :-(

Audio Examples

 
0:00
  • Ballad
  • Soul
  • Ballad Male
  • Soul Male
  • Ballad Dry
  • Soul Dry
  • Ballad Male Dry
  • Soul Male Dry
  • Show more

Further Information

Tube No
Switchable Polar Pattern No
Omnidirectional No
Cardioid Yes
Figure-8 No
Low Cut Yes
Pad No
shockmount included Yes
USB Microphone No

Come up with your own creative bundle and save

If you order this product together with others as part of a bundle, you can save up to 5 % additionally!
ART Tube MP Studio V3 + the t.bone SC 400 +
4 more
Configure bundle now
starting from $131
SPL Goldmike 9844 + the t.bone SC 400 + Cordial CAM 6 BK +
4 more
Configure bundle now
starting from $511
the t.bone SC 400 + Millenium MS 2003 +
4 more
Configure bundle now
starting from $59.99
2251 Customer Ratings:
  • 5
  • 4
  • 3
  • 2
  • 1
4.5 /5
  • features
  • sound
  • quality
Total
features
sound
quality
Easiest mic I've ever used.
Josh Colletta, 22.04.2020
To give you a bit of an introduction, I've been working in broadcasting for 27 years. This is my first full-range, studio-use condenser microphone; though I've used some that weren't my own. I've owned and used dynamic microphones pretty much all my life. I've used some good and some bad; some dirt cheap, and some at the top of the price list for their purpose. The expensive ones weren't always the best, but at the same time, the cheap ones weren't always the best, either.

My voice has a very de-nasal bump right around 800Hz, and between the frequency response of those mics and the ability I (or whoever's engineering) have to EQ them with whatever they're plugged into, it can be very hard to make them sound like my unamplified voice does to the average ear. In fact, the microphone that I had plugged in to my chain before I received the SC 400 required TWO bands on my parametric EQ to be set to 800Hz and cranked WAY down.

I plugged in the t.bone SC 400 and reset my entire EQ to zero. I was prepared to test it out as long as it took to get it right.

It took thirty seconds.

All I need is one band at 800Hz turned down to about 25%, and this things sounds BEAUTIFUL. Crisp highs -- I actually had to back those down a little, too, but not by much -- perfect low end, not a single other thing adjusted to compensate. Never in my life has it been that simple. The SC 400 sounds very natural, it's very sensitive, and I have been thoroughly enjoying every moment with it.

I'm using it for home voiceover recording and, eventually, podcasting and radio. In fact, as I type this, I just moments ago ordered a mixer and audio interface right here at Thomann in preparation for that.

I don't have any "cons" to give you, but as many people seem to be buying this as an entry-level studio condenser (as I did) and likely need some help adjusting, let me give you a couple of notes:

Sensitivity is going to be the first thing you notice, because the SC 400 has plenty of it. If you're not familiar with how to read sensitivity figures for microphones, I'll just give you the basic idea: where you see "dB re 1V/PA," the higher the number in that spec, the more sensitive the microphone is. The SC 400 is rated at -32.6 dB in that category. One of my other microphones, the Audio-Technica PRO 61 (a dynamic), is rated at -55 dB in that category. If I switch back and forth between the two, my preamp will have to be significantly adjusted to compensate.

The SC 400 is a hypercardioid microphone, meaning the most sensitive, accurate-sounding area around it is dead-center, right in front of the diaphragm. If you move around your microphone a lot, you're going to find yourself off-axis and sounding distant rather often. This mic is generally intended for studio situations where you or your talent are stationary in front of it (such as vocal recordings or radio broadcasts). This attribute COULD be used in a live sound setting to avoid feedback, but don't forget about that sensitivity, because even if it's off-axis, it WILL still pick up sounds from all around you. In ANY setting, I highly recommend a noise gate.

Being a condenser, the SC 400 is meant to be used at a slight distance away from the mouth. You don't want to eat this microphone, it will not do you any favors. Now, that said, I do personally keep it closer to my face, but I also keep it slightly off to the side so that the front of the diaphragm IS still pointed at my mouth, but the direct wind from my speech is passing over the TOP of the mic, not directly into it. This prevents plosives while still providing the proximity effect. In fact, I recommend that technique with ANY microphone. Old trick of the trade that seems to have been lost over the years.

Bottom line: just buy this microphone. You will not regret it.
Helpful · Not helpful · Report
Report rating…

Do you believe this rating to be inaccurate or unacceptable for some reason?

Send report
Total
features
sound
quality
Perfectly acceptable for studio use
Mark8610, 17.02.2016
This is a large diaphragm studio condenser microphone, albeit a small one. If you are used to using dynamic microphones for recording you will instantly notice the improvement - the crystal clarity that a large diaphragm condenser gives in comparison.
This is also a very cheap large diaphragm studio condenser microphone. In my experience, normally that cheapness would be reflected in the quality of the built-in pre-amp. I expected a relatively high noise floor - background hiss with the gain turned up to record quiet sources. I have to report it's not there.
According to the included specification sheet, this microphone has a better noise performance than my Audio Technica AT4033. It would be a complex process for me to actually measure if that is actually true, but in using the two side by side I have no reason to believe that the performance is worse.
I have used this mic to record vocals and acoustic guitar, both of which it does very well. It doesn't have a built-in pad, so I wouldn't use it for anything loud like horns. The low-cut switch is internal and requires unscrewing the body - but this is only required for close mic-ing, and these mics are best used with a bit of distance between source and mic (with a pop-screen for vocals).
The included shock mount is a necessity for this type of microphone, and the one supplied does the job quite adequately (considering you could spend the same money for just a shock mount on its own).
If you haven't yet recorded with a large diaphragm condenser, then get yourself one of these. Just remember though, the money you save on buying this (rather than a more expensive model) will have to be spent on acoustic screening once having a decent mic shows up how bad your room acoustics really are. But you'd have to do that if you spent more on a mic.
Helpful · Not helpful · Report
Report rating…

Do you believe this rating to be inaccurate or unacceptable for some reason?

Send report
Total
features
sound
quality
Works and sounds ok
onetw, 20.06.2018
Well, this thing is pretty cheap. It comes with a shockmount and although it holds the mic in place by a springsteel plate wrapped around the mic, rather than by screwing it in and the mic is not fimly attached to the mount, it is pretty good and reliable.
The mic itself feels, well, cheap. The housing is all made out of thick metal and the mic has a nice weight to it, but you can just feel that it's like the cheapest steel that you can get. Also the emblazed text is smudgy and faded and the finish is not very nice. At this pricepoint though you'll hardly find anything more premium-looking i guess.
Soundwise it isn't too bad. . Oddly enough, i like to use the mic for recording slightly overdriven Marshall plexi sound, for some reason it sounds stunning with single coils. However, the higher frequencies are slightly distorted which is very annoying, when you try to record something clean and relatively high pitched (female voice). There is a possibility that my unit is damaged, when it arrived there was a pretty deep dent in the membrane cover (most likely already from the factory as the packaging itself was intact) but I couldn't be bothered to complain about it and the damage is probably just cosmetical. Either way, I'd classify it as "usable".
Generally speaking, I'm slightly underwhelmed by the mic. The price is pretty low, but it isn't dirt cheap. For less than twice as much you can get some great sounding MXL mics that will last you a long time, an SM57 or the Rode Nt1 (that I've used and liked much more). My expectations were high, all of the other Thomann's own brand products that I've bought were such a bargain, but I can't really say that about this mic.
My reccommendation to you if you want to buy your first mic is to stretch your budget a bit more and go for something more expensive that you might keep on using for a bit longer (MXL, Rode or perhaps the higher tier t-bones). Make it a worthwile investment.
Helpful · Not helpful · Report
Report rating…

Do you believe this rating to be inaccurate or unacceptable for some reason?

Send report
Total
features
sound
quality
Does the job
PeteKay, 19.05.2020
A very nice, professional looking, entry level microphone. Bought it as a backup for the dynamic mic I've been using for podcasting and narration/voice-over.

What I found was that for its price - it doesn't feel that cheap. Sure it doesn't have many bells and whistles but it does the job.
It has a sturdy build unlike any in that price range, and the accessories (shock mount and bag) don't feel cheap either.
The sound is crisp and clean without touching the gain or adding any processing.
Sensitivity is very good to the point where I had to turn it down a bit to avoid clipping when I get overexcited, also be prepared to feel any and all reflections and reverberations in your acoustic environment.
Voice sounds vibrant, and though the proximity effect is nothing to write home about - it is there. My voice is a bit nasal but I can feel the slight differences as I adjust posture to minimize it - that's how clear it feels.
The only thing I don't like that much is the polar pattern. I tend to shuffle and I sometimes leave the sweet spot of the super-cardioid pattern and it shows in the end product. This shouldn't be a problem if you're mostly doing vocals or voice-over.

Overall it performs WAY better than expected and is perfect for a first condenser, for a backup when in a pinch, and for everyday studio work.

Pros:
* The price-quality is unmatched. See below.
* Build. At this price point it doesn't get better. It's sturdy and doesn't feel cheap like the chinese clones.
* Sound is clear and crisp.
* The baggie and shock mount are also good quality

Cons:
* If you move a lot while you record - the pattern is a a bit unforgiving. You need proper posture and positioning.
* It's QUITE sensitive to the point I had to turn the gain down to avoid clipping. Also it is a bit unforgiving if you have bad acoustics in the room/studio.
Helpful · Not helpful · Report
Report rating…

Do you believe this rating to be inaccurate or unacceptable for some reason?

Send report
$46.75 €41.38
The shipping costs are calculated on the checkout page.

The price in USD is a guideline price only!

Available shortly (2-5 days)
Available shortly (2-5 days)

This item has been ordered with our suppliers and should be in our warehouse in the next few days.

Standard Delivery Times
Share This Product
Your Contacts
Phone: +49-9546-9223-30
FAX: +49-9546-922328
Online Guides
Large Diaphragm Microphones
Large Diaphragm Microphones
They pick up any sound! In this guide, we have tracked down the most popular condenser microphones for you.
 
 
 
 
 
Download
 
 
 
 
 
video
the t.bone SC 400
0:59
the t.bone SC 400
Rank #14 in Large Diaphragm Microphones
 
 
 
 
 
test results:
Offers include VAT and are valid as long as stocks last. We do not accept liability for typographical errors or inaccurate information of any kind. *RRP = manufacturer's / distributor's recommended retail price in Germany
(72)
Recently Viewed
Presonus AudioBox USB 96 Black

USB Interface 2 x 2 USB 2.0 interface 24-bit / 96 kHz, 2 Mic / instrument inputs: XLR combo jack, 2 Line outputs: 6.3 mm jack balanced, MIDI input and output, Stereo headphone output: 6.3 mm jack, USB 2.0...

Recently Viewed
DAngelico Deluxe Bedford Nat Swamp Ash

Electric guitar Body: swamp ash, 3-Piece neck: maple / walnut / maple, Fretboard: Pau Ferro, Mother of Pearl - Abalone Split Block fretboard inlays, Matte neck finish, Neck profile: C, Scale: 629 mm (24.75"), Nut width: 43 mm, Pickups:...

(1)
Recently Viewed
Source Audio SA 270 - One Series EQ2

Source Audio SA 270 - One Series EQ2 Programmable Equalizer; 10-band equalizer effects pedal, 10 adjustable frequency bands ranging from 31 Hz to 16 kHz with +/- 18 dB boost/cut for each band, parametric equalization capabilities to adjust the frequency...

Recently Viewed
Numark Mixtrack Platinum FX

4-Deck DJ Controller With jog wheel displays and performance pads per deck for access to cues, loops, faders, cuts and samples, Quick start effects with dual paddle triggers, 24 Bit audio output, 3-Band EQ and filter control for creating...

Recently Viewed
Behringer CP1A

Behringer CP1A; power supply module for Eurorack systems; LED indicators for +12V, -12V and +5V rails; connectors for 2 flying bus boards; power rating: 1A (+12V) / 1A (-12V) / 0.5A (+5V); width: 4 HP; depth: 52mm: including: external power...

Recently Viewed
Marshall Electronics VAC-23SHU3

Signal converter / converter SDI / HDMI to USB 3.0 Web presenter streamer, Converts SDI & HDMI signals to USB 3.0, The HDMI input also has an active loop-through output to loop the signal through, which can then be...

Recently Viewed
Behringer MIC2200 V2

Behringer MIC 2200 V2 Ultragain Pro - Audiophile Vacuum Tube Microphone/Line Preamplifier; 2-channel; wide bandwidth from 10 Hz to 200 kHz for "open" sound; switchable 48V phantom power; Integrated fully parametric EQs with dedicated center frequency, bandwidth and level controls;...

(2)
Recently Viewed
Mackie CR8S-X BT

Mackie CR8S-X BT; Active 8" Multimedia Subwoofer with Bluetooth wired Remote Control; Frequency Range: 40 Hz - 180 Hz (-3 dB); max. SPL: 112 dB; Amp: 200 Watt Class D; adjustable Crossover Frequency (40 Hz - 180 Hz); adjustable Input...

Recently Viewed
Nektar MIDIFLEX 4

Nectar MIDIFLEX 4; USB midi interface with merge and split options; 4 port autosense operation; flexible operating modes 1 In/3 Out, 2 In/2 Out or 4 Out; multiple MIDIFLEX 4 cascadable; can be used in standalone mode as 2 in...

Recently Viewed
Marshall Stockwell II Black

Marshall Stockwell II Black Bluetooth Speaker, 2x 10 W Woofer, 2x 5W Tweeter, class D amplifier, bluetooth 5.0, Multi-Host-Funktion (simply switch between two bluetooth devices), frequency 60-20000 Hz, input: 1x 3,5mm stereo jack, controls: volume, bass & treble, upt to...

(1)
Recently Viewed
Celemony Melodyne 5 studio UD 4 studio

Pitch and Timing Correction Software and Plugin (download) Update from Celemony Melodyne 4 studio to Melodyne 5 studio Largely free processing of monophonic and polyphonic audio material at the frequency and time level in excellent sound...

Recently Viewed
Turbosound TS-12W350/8W

Turbosound TS-12W350/8W, 12" Woofer, 8 Ohms, 350 Watts RMS, 1400 Watt Peak, 61 Hz - 3 kHz, SPL: 95 dB (1 W / 1 m), Rigid aluminum die-cast frame, Mounting hole diameter: 299 mm (11.77"), Overall Diameter: 316 mm (12.44"),...

Give Feedback
Feedback Found an error or want to give us feedback about this page?

We're looking forward to hearing from you and aim to solve any problems as soon as we can.