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beef on the low end and smooov(smooth) high end.

What I dig about the M160 is that it captures the truth with alittle bit of beef, without the bite. But that may be a different reason you would put up a royers, since the M160 is hypercardiod and has more high end response. Most ribbons are figure 8 and proximity effect is a condition to consider.

T

Phil O wrote:Hmm, sounds like Brad is definitely a T-bone man. Sounds like you're a Woodpecker fan too, Brad. If you read the customer reviews on Sweetwater's site though, it sounds like they're talking about two different mics - a couple of great reviews and one that describes the Woodpecker as "a ribbon trying to sound like a condenser." This guy wasn't happy with it at all. Which brings me to my question (which I believe is on topic): When you reach for a ribbon, what is it you're looking for?

Phil

Which is why I don't personally read or follow these reviews ONLY because I have a very nice studio and access to nearly any product at a moment's notice to evaluate them in. I've read reviews that made me think the person writing the review really didn't know what they were talking about. But at the end of the day it's all about opinion---and well, I'm quite opinionated What I mean is----I like to know not just every detail about every product, but how they all compare and differ from one to the next. THAT, IMHO, is what allows one to truly evaluate and review a product is if they are used to this stuff. You never know the experience level of another when you read reviews......which is one of the reasons why I put my identity out there. I'd like to think that my input has some weight into the subject based on the experience.

I ended up not risking the ribbon mics on my last session, and probably won't use them on my upcoming three or four drum sessions either, but may try them out on non-drum instruments during some overdub sessions of other parts these next few weekends.

Although I am determined to prioritise that AEA TRP ribbon mic pre-amp, the parts I am recording the next few weeks are not so critical that they would suffer from using the True Precision 8 at high gain settings; nor will the sources be so quiet as to probably need that much gain.

I did do a lot of reading about mid/side recording last night, and found two references which I wish I had posted here, but I may do so later once I find the URL's again. They were quite enlightening and mentioned a lot of things I hadn't read anywhere else. My Beyerdynamic M130/M160 can be used individually for quite a few things (especially solo strings), but are made as a "pair" for M/S recording, and so I'm anxious to give that a try.

I will probably eventually buy two more ribbon mics -- maybe Royer 121 and/or even 122A, and possibly an AEA. I keep reading more and more about how these are the mics of choice for classical and jazz players, for trumpet and other instruments that are hard to capture well without the sound breaking up either in the higher frequencies or due to extreme dynamics.

Anyone experienced yet with the brand-new Shure KSM313 or 353 ribbon mics, which are revision of the old Crowley & Tripp El Diablo and Naked Eye models? They "shure" are gorgeous!

http://mixonline.com/news/shure_ksm353_ksm313_2306/

Ooh, I just see now that the KSM353 is over twice as expensive as the KSM313! I thought at first maybe these were designed to be used in a Mid/Side combination like the Beyerdynamic M130/M160, but I guess not.

The cheaper one is sexier anyway.

I've been eyeing - the Red EYE (KSM 313?).....
T

Audio Technica announced two ribbon mics yesterday, at $900 and $1300. I printed out the product announcements from harmony-central but haven't had time to read them in detail yet. The pictures at Sonic State are larger so I recommend reading their press feed as well.

AT ribbons? Now that sounds interesting. I've had very good luck with AT products so far. I'll have to check this out.

Phil

I still haven't had time to really delve into those new AT ribbons, but apparently the prices I quoted are MSRP and probably close to twice actual street price.

Also, early indications are that these mics will have a new sound and not try to emulate any existing ribbon mics. This is based on there being a fair number of patents filed for the products.

AT ribbons !! wow, looks like they are going for a Royer type amplified ribbons.

Curious for some reviews on them.

T

AT announced LOTS of new mics last week -- I think as part of PLASA in London. AES is next month, so hopefully by then there will be some usable press on these critters.

Yes, some others speculated on the Royer vintage look, but then pointed out the patents, which hints that they have done something innovative sound-wise. We'll see.

Just received my new Samson VR88.

Cause of the internal preamp, as much level as a modern neodymium dynamic.
Just fine for all of my actual preamps.

Seems rather dark at first glance, but, IMHO, the lack in high frequencies is not a deal-breaker cause of the very articulated medium.
It's really astounding on acoustic guitar.
And fine on many voices, even male voices, if you're more after a full melodic and grainy tone, rather than an extreme *airy* tone.

Sure, not a *one mic for all*, but a very good complement to a bright large diaphragm condenser. And, no doubt, a very good bang for the few bucks.

BTW, it's a limited edition. Don't wait if you're after one.

The new Shure ribbon mics (re-branded from Crowley & Tripp) are reviewed in the December issue of Mix Magazine (available on-line).

I've only had time to skim the review thus far, but it seems to be a glowing report, except for some issues with the shock-mount on the larger and more expensive one (KSM-353).

You could get one of these: http://www.mxlmics.com/products/Studio_ ... 4/R44.html

Or any of the mics used here: http://www.oktavamodshop.com/index.php? ... kcg34vend1

Save some money. This guy does incredible work... I've had a few done and WOW!

I use an old B&O BM5 stereo ribbon for drums OH all the time. I think it's from '61. I love it.
Seen them for as low as $600 on occasion. There's also a non stereo version called BM3. These microphones were the inspiration for Royer if I understand things correctly. If you find one, get it!
The only other ribbon mic I have is the Golden Age Project R1. Use it for guitars and drums alot.
Wish I had money to get more ribbon microphones. My dream would be to record a full band using only ribbon mics!

Cheers!

Recently purchased a Cascade Fathead II. Tried it on flute with a 414 as room mic dual set up, and it turned out nice.

Man the FH is bigger than I thought, and heavy too.

I normally use my Beyer M160, but the FH had a nice tone-somewhat dirtier and more beef. Placement is key due to the figure 8 config.

T