- Reviews (23)
Contact microphone for various instruments, piano, double bass, harp, kora, n'goni, zither...
Can be used detachably with the module attached to the top or inside the instrument
- Contact microphone C2 or C3 Microphone characteristics
- 65cm cable, 2mm diameter
- Double-sided module fixing plate or Velcro depending on the instrument.
- Balanced XLR output
- Operates on 9 to 48 volt phantom power. Requires XLR/XLR cable available here
- Low cut 3 positions available on the case: Flat / 180Hz / 360Hz
- audio adhesive putty for contact microphone Ischell provided
- Microphone dimensions: Height 12/13 mm with the putty - Diameter: approximately 25 mm
- Module dimensions: 95 x 30 x 25 mm
- Online user manual
- Semi-rigid storage case
Very nice sound
Lionel Gonthier -
Knut Eirik Hult -
Easy to use, but I needed a few different positions before I got the sound I wanted. This on upright piano. I also think it is a bit too must “leak” from other instruments on stage, but overall satisfied.
North Holland, Netherlands
After a few months of use, I would highly recommend the C3 for double bassists. It retains clarity and a natural tone at high stage volume while being resistant to feedback. Placement partially over the bass bar, level with the lower portion of the f hole, yields the most even response between pizz and arco on my bass.
The new version of the micro contact Ischell C3 is definitely an improvement. I use it for several months live on a double bass. It has all the advantages of the piezo (no repisse, no feedback) but the sound is really close to a “classic” microphone placed very close to the instrument, in the bridge for example.
Compared to the old version: more beautiful bass, much more treble, which clarifies the sound and above all a much more natural dynamic which is closer to the acoustic playing experience.
Obviously the sound is not to be compared to what you can get in the studio with a nice condenser microphone! You have to find the right placement on the instrument and take care of the equalization a bit. But for the live, it is for me the best compromise sound / efficiency.
null from France
Excellent, thank you very much. I find my Kora!
X48C2 9v battery option
Michel HUDRISIER -
New Aquitaine, France
In the studio it works very well let's wait July 1 for the first test in public
Melanie Panaget -
Brittany from France
Excellent! Fischer really takes the time to listen and feel each instrument (in my case a Saz), until he finds the optimal sound! Thanks again for this moment!
Emanuel N. -
Excellent microphone for instrument. Its natural and very pleasant, not at all “electric” on a bouzouki.
Thomas L. -
Easy to order, fast shipping, easy to install, may fit any mandolin (perfect for mine), sounds really great!
David Chevalier -
Very efficient and easy to use on my banjo. However, a fairly precise equalization is necessary for the instrument to be fully expressed.
Michel DeCityrs -
A rich and balanced sound on my viola da gamba. A very “realistic” stamp. The gray putty is more suitable.
The position I have adopted is very close to what is indicated on the instructions. I looked for other possibilities, this is the best.
On the table (Yamaha and Yamaha amp) I attenuated the bass a little.
In short, excellent. Thank you
Jean Francois Comba -
Used in a Church in Angoulême for a semi-grand piano, in order to make a sound recording for a live broadcast on YouTube of worship gatherings. Not easy, because the assembly sings hymns in the hall, and we wanted to capture the sound of the hall and the sound of the piano separately. The contact microphone solution seemed ideal to us.
I admit that we are quite amazed by the result, given the low cost and the very small size of the microphone. We fumbled a bit to position the microphone, but the staff at Ischell was very available by phone to guide us.
In the end, the sound captured is impeccable, well balanced, and it keeps all its “acoustic” color.
Thank you very much for your great material!
Oscar Widegren -
This is a nicely made product that gives me the clarity and sound I've always wanted, but never quite acheived with the amplified double bass before. I prefer to mix it with a piezo pickup: the pickup brings the bottom and the Ischell the sound!
It does require some experimentation with placement, height over top and settings on the hpf to give the best results. Once installed properly it stays put and has pretty much the same feedback resistance as a piezo.
For a double bass mic, it is also fairly cheap.
Bertrand GARCIN -
I only use him!
Jessye S. -
Easy installation in my harp thanks to a precise description. The sound is impeccable.
I bought this microphone for an Oud, and this is the best piezo microphone, I confirm by contribution to the comments above, we have a lot of acoustics of the instrument but there 'has piezo anyway, it does not replace an aerial microphone, but good for feedback it's over, I even tried it on a large sound system for more than 3000 people with low drums ... and there we can hear more his piezo as the acoustics but hey no Mr Larsene, more of him on stage and that feels good.
Then lately I had a concert where I play the violin, I test it for the first time on it, and there I am amazed, really, I did not expect to have such a good sound, I recommend it to everyone violinists, who seek a purely acoustic sound with zero feedback, no hesitation, this is what is best for the microphone that sticks to the instrument (Piezo).
Good continuation to the team Ischell
I greet on the way the gentleman that I had such and who took the time to explain everything to me in detail before the purchase.
The microphone was recommended to me by a sound engineer who heard this on a harpist.
Response, Ischell :
Thank you for your comment! We wanted to clarify that this is not a piezo but a condenser contact microphone of the type Ischell AirBag-C. Also, finding the best placement and placing it on an oud is not always easy. Do not hesitate to contact us to discuss it, it is possible that it will help you to improve the positioning. Best regards from the team.
GRIZARD CUETO HELENE -
Excellent value ! excellent service, installation, live testing etc. The sound is really very close to reality (installed on a 1909 cello), and the relationship with the other instruments on stage is perfect!
Thank you ! I recommend it 100%
Jerome De Cuyper -
Installed under the bridge of my Kora 32 strings, the sound is very clean. Used to the sound of the piezo ... that's ithange life! However a mixture of the two is also nice, it all depends on what you want to achieve. This is my first “real” mic for performing live and I recommend it if you like pure sound.
When my means allow it, I will buy another one but I would very much like that there is a model with XLR to be recessed because I make my instruments, therefore notice to the manufacturer;)
thank you for your work
I ordered this mic for my 12/7 zither / psaltery. It suits me perfectly - it gives a good rendering of the zither sound: a large audience can thus benefit from it.
Thank you very much to ISCHELL for availability, responsiveness and very professional advice: when you are interested for the first time in the sound system of a musical instrument, these are particularly important points.
Michel saulnier -
I rehearsed today with the microphone Ischell that I have just acquired, I was surprised and delighted to see the fidelity and the power without feedback and without compression of the microphone X48C. 3 low cut settings are installed in the XLR socket. I chose the 360Hz cut-off. I did some tests and I compared the sound by mutating the channel. The result is surprising, the acoustic sound of my double bass is almost 95 percent the same with and without the microphone. So I can play hard enough without distorting its true sound. The fact that it is a static must have a lot to do with it, a piezo only transmits mechanical vibrations, with this real microphone, we can hear all the ancillary sounds or even parasites of the instrument: glissendi, curly, string clicks, without it getting in the way, quite the contrary.
The second point of satisfaction is the fact that no other instrument in the orchestra re-enters this microphone, thanks to its sound insulation.
The third positive point is that this material is made in France by a competent man with whom we can talk about his sound and musical research.
This is the first time that I am really satisfied with the amplification of my double bass. thank you so much
Johnny Amitafa -
I first bought this pickup for the harp, it's just terrible really. I bought another one for the Cello, it also works great. And finally I bought another one for the violin. In all sincerity, here are finally microphones that allow you to take sound in concert with groups that play hard or very loud. No repisse, a very important level of return without feedback. And a very nice grain, it's not at all a cell sound, closed, unusable, it's aerial microphone and it sounds like such. Well done and thank you !!!
Johnny Sound engineer.
Elisa B -
I've had this mic in my harp for a while now. I can say that the sound is really nice, very acoustic from bass to treble and with few settings, it's a pleasure to hear on stage without risking feedback at any time. the sound engineer of the group is delighted and so am I. Thank you !