Austrian Audio CC8 Stereo Set

A Viennese Signature Designed for Today's Demands

The CC8 fits into the grand tradition of small diaphragm microphones prized for their precision and tonal balance. Its design, carried out in Vienna, aims for a linear response and manufacturing consistency that inspires confidence both in the studio and live performance. While the "classics" shine through neutrality, the CC8 inherits this DNA while adding immediately useful session tools (pads and high-pass filters) to adapt to modern placements, multi-mic setups, and less-than-ideal environments.
The result: a microphone that prioritizes musicality without excessive coloration, with a sense of detail and definition that eases mixing. The high frequencies remain present but controlled, helping to capture the attack of an acoustic instrument or the air of an ensemble without harshness.

A Microphone Tailored for Acoustics... and Surprisingly Comfortable on Drums

Thanks to its cardioid directivity, the CC8 is an effective ally when isolating a source, reducing bleed, and maintaining a clear image. It is aimed at sound engineers seeking faithful capture of acoustic instruments: guitars and mandolins, quartets, classical ensembles, choirs, pianos, "delicate" percussion, and room ambiances.
Its other strength, often decisive in home studios as well as on stage, is its tolerance for high levels. As overheads, on cymbals, hi-hats, or even close percussion, the CC8 retains headroom and avoids "hardening" the upper spectrum. When used in pairs, it becomes an excellent choice for building AB, XY, or ORTF stereo setups, with a stable image and precise localization.

Key Features: Control, Cleanliness, and Quick Integration

-10 dB and -20 dB Pads: Headroom When It Hits Hard

The CC8 handles up to 156 dB SPL, and its switchable -10 dB and -20 dB pads allow level adjustment upstream, directly on the microphone. This is particularly useful to preserve dynamics on very close sources (cymbals, auxiliary snare, percussion), or to secure a take when the performance varies greatly. You thus maintain a more comfortable preamp gain and a more stable signal chain without compromising definition.

High-Pass Filters at 60 Hz and 120 Hz: Better Control of the Low End

In the studio, a successful recording often starts by eliminating the superfluous. The high-pass filters at 60 Hz and 120 Hz (second-order slope) help reduce microphone stand vibrations, stage rumble, air conditioning noise, or proximity effect depending on placement. The goal is not to thin out the sound but to clean up what clutters the low end to gain clarity in the mix, especially on acoustic guitars, strings, choirs, and ensemble recordings.

Low Noise and Cardioid: Usable Details Even on Soft Passages

With an equivalent noise level of 16 dB SPL (A), the CC8 remains discreet on delicate sources and pianissimo nuances. Combined with cardioid directivity, it allows for clean takes that are easier to layer and process, even in untreated rooms or busy stages. This combination favors precise transient reproduction (string attack, choir articulation, piano hammer) while maintaining useful off-axis rejection to reduce distracting sounds.

Robustness and Accessories: A True Stereo Recording Solution

Designed to withstand real-world conditions, the CC8 relies on a robust construction, 3-pin XLR connectivity, and immediate integration with any audio interface, console, or preamp providing 48 V phantom power. Included accessories (windscreens, clips, coupling bar, and case) facilitate quick and secure placements and allow easy assembly of a clean, coherent stereo pair for stage or recording.

Technical specifications

Frequency response - start	20 Hz	Directivity	cardioid
Frequency response - end	20 kHz	Connection	XLR
Category	studio microphone	Color	Black

Type	small-diaphragm condenser microphone ("true condenser")	Design and manufacturing location	Vienna
Sensitivity	15 mV/Pa	Capsule	small-diaphragm, handmade
Equivalent noise level	16 dB SPL (A)	Dimensions	140 x 23 x 23 mm
Maximum SPL level	156 dB SPL	Weight	160 g
Low-cut filters	60 Hz (second-order), 120 Hz (second-order)	Microphone clips	2 OCH8 18 mm
Switchable pad	-10 dB, -20 dB	Windscreens	2 CCW8
Output impedance	275 ohms (balanced)	Coupling bar	SB1
Recommended load impedance	greater than 1 kilohm	Carrying case	included
Phantom power	48 V (consumption below 3 mA)