25kHz Omni Microphone for Loud Sources

Omnidirectional condenser microphone for recording & live performances

  • 9Hz – 25kHz flat frequency response

  • Omnidirectional polar pattern

  • Handles up to 150dB SPL without distortion

From $499

  • General-purpose omni
  • Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano
  • Frequency response goes to 25kHz
  • For live sound the TC25 can be used for close miking instrument amps, drums or brass
  • Omnidirectional polar pattern
  • Accurate and uncolored
  • Effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details
  • Fast impulse response and diaphragm settling time
  • Exceptional flat frequency response and are time coherent, so they sound natural and uncolored

Frequency Response: 9Hz to 25kHz +1/-3dB

Polar Pattern: Omnidirectional

Sensitivity: 8mV/Pa (-42dBV/Pa)

Power Requirements: 24-48V Phantom, 10mA

Max Acoustic Input: 150dB SPL

Output: XLR (pin 2+)

Output Impedance: 65Ω balanced (between pins 2 & 3)

Min Output Load: 600Ω between pins 2 & 3

Noise: 26dB SPL equivalent (A weighted)

Dimensions L x D: 165mm x 22mm (6.5 x .860 inches)

Weight: .35 lb. (160g)

TC25 25kHz omnidirectional microphone for loud sources

TC25mp 25kHz omnidirectional microphone for loud sources – matched pair

  • Acoustic String Instruments
  • Bass Amp
  • Brass/Woodwinds
  • Guitar Amp
  • Piano
  • Recording
  • MC1 Microphone Clip

I had originally intended to add a second pair of overheads to the session as a safety measure, but as soon as I heard the TC25s by themselves in the control room, I dropped that idea. If I had to, I could have lived with the sound from just those two mics. The sound of the kit was detailed and focused. I could hear every nuance.

Rob Shrock, Electronic Musician

Earthworks microphones all seem to share a special character when it comes to transient detail, and the TC25 omni mics supplied here are no exception. Rigged as conventional spaced mics above an average jazz-oriented drum kit, they delivered a pleasing, natural, and spacious sound, with lots of subtle transient detail and finesse.

Hugh Robjohns, Sound on Sound

The first thing we noticed about the sound of the TC25s versus our usual mics was that the attack was much crisper and clearer, especially on cymbals. The stick sound had an almost 3-D quality, while the cymbals’ resonance was smoother and more realistic. And the snare and toms sounded more natural and livelier.

Michael Dawson, Modern Drummer