We’re already big fans of Josephson microphones at the studio where I work, Tiny Telephone. We have the C725 tube mic, the C700A, and four e22S mics that get constant use. Most of our collection is vintage; the Josephsons are among the few newer mics we’ve added over the years. It’s easy to get distracted with so much new gear coming out all the time, but we can trust that the Josephsons are here to stay. They’ve definitely earned their place at our studio. So, when I had the chance to try the new Josephson C706, I was excited to see how it would hold up against the other mics in our collection.
To jump right into the technical specs and background of the mic: The C706 is one of Josephson’s newest additions to their Series Seven collection. The mic is built around a variation of Josephson’s signature large dual-diaphragm capsule, using a pair of 5 micron gold-metallized diaphragms. It has the same discrete FET cascode input and transformerless, low-impedance output circuit as the C716. It’s all built in a sturdy steel housing that feels extremely safe and durable. The unique design of the offset grille support minimizes internal reflections. Aside from the sound, Josephson always presents their mics elegantly, and this one is no exception. If you’re familiar with the look of the other microphones in this series, you’ll find that this sleek microphone fits right in.
As far as the sound goes, it was obvious to me pretty quickly that the C706 lived up to my high expectations. I kept it on a stand nearby, ready to use for whatever we were recording. The first instrument was piano. I ran it through a Neve 31102 preamp and a GML Model 8900 compressor and was immediately struck by how beautifully hifi and detailed it sounded. It felt realistic, like I was in the room with the piano. The top end of the instrument was open and airy without being harsh or exaggerated. Both the bottom end of the piano and the high attack of the hammers were represented with accuracy.
Placing the mic in front of an acoustic guitar was just as satisfying. The capsule has a fast response, perfect for the fingerstyle parts we were recording. It was able to capture the articulation and subtleties of the performance with precision and clarity. With the right placement, nothing was too boomy or overemphasized. It sounded exactly as I had hoped it would. The mic has a smooth off-axis response, so even when the guitarist moved a little, it still sounded natural.
Both male and female vocals were excellent through the C706 as well. It was able to capture the full range of the vocalists without emphasizing too much sibilance or harshness. I also enjoyed experimenting with the proximity effect, thickening the vocals nicely without getting too muddy or unclear. The C706 is fairly transparent, so everything I put it on felt natural and convincingly real coming out of the speakers.
Over the course of multiple sessions, the C706 proved itself to be consistently useful and versatile. Piano, guitar, vocals, and percussion were captured with precision and lots of transient detail. Aside from individual instruments, it made my workflow easy as well. I didn’t find myself having to tweak the placement too much or fix anything with EQ. Everything I put in front of it sounded hi-fi and clean. The C706 is the kind of mic I can keep on a stand nearby and move around in a session without second-guessing my choice. In a busy studio, that reliability and confidence in a mic is invaluable.