They each have their purposes for me, and I appreciate this! I also couldn’t help notice the lack of Dual Medium type Ribbon mics in this test (CAD Trion 7000, Cascade DR-2, Apex 215 etc..) No Royer SF-1 either. The Royer Labs R-122V is the tube version of the R-122. You might as well run your tracks through a low-pass filter. But if I go into the session file and add a high shelf EQ, say +6dB (or more) above 6–8kHz, all the articulation and detail that I’m missing in the raw tracks comes right out. In retrospect, we should have had at least one. Let it go. As a result, a ribbon mic will probably hear less of the room than you expect. While they do have a lot of character, what separated them from the pack was a reasonable amount of detail on top, making them more likely to get used on a variety of different sources. It requires phantom power to work but it does NOT pass this along to the microphone. Looks like a mono version of the SF-24/SF-24V! The ribbon sound reminds me of what I used to get back in the 90s when my recording setup consisted of a Shure SM58 and a Fostex cassette 4-track. Wow, Igor’s I’m a trolling angry broke dude who resents anyone who can buy or HAS EVER HAD THE CHANCE TO USE AND LEARN ABOUT DECENT GEAR schtick gets funnier each time eh? “They may seem dull by comparison, but I prefer to say condensers are far too bright.”. Also a glaring omission is the legendary M160, although I suppose you might be focusing on bi-directional mics, despite the prescense of a couple uni-directional ones. We tested both mics on all sources (although we used them as a pair for the drum overhead test). Still, let us know where we missed.). Do you like music? “Ribbons transduce sound in a fundamentally unique way…”. The one mic you guys missed that I was looking forward to seeing in the test though was the Avent C-14. Unrestored ones still seem to exist in pretty large quantities, and a certain elderly wizard whose initials are Clarence Kane (whoops!) If you are shopping for your first ribbon mic, get this one. I spent weeks writing up the seven-part series. When air pressure changes move the ribbon, its motion within the magnetic field causes a current to be induced within the ribbon itself, and this small current is tapped off, sent down a mic cable and amplified. Don’t discount ribbons too quickly. The Cascade Microphones VIN-JET also had a Lundahl transformer upgrade. It is a dual-voice mic, with distinct front and back voices. The simple takeaway is that you can EQ ribbons much more aggressively than condensers. The Coles Electroacoustics 4050 was the most versatile mic in the lineup, in that it is a separable stereo pair with a unique magnetic mounting system. If a microphone that is 20 db down at 20 Khz sounds better to you than one that is flat or has a db or two boost at the high end, just use either a decent condenser mic and turn down the treble all the way to -15 db, or use a dynamic mic with a similar drop off at the end — for a fraction of the price. I recently recorded a grand piano with a pair of Beyer M160’s through a Cloudlifter CL-2 (a two channel version, CL-1 is the single version) and the sound was absolutely beautiful. It was called the $60,000 Ribbon Mic Shootout, because the total value of the 30 mics we tested was over $60,000. Update: Here is the Cardioid ribbon mic shootout. I did notice the Shure KSM313 in a spectral analysis had some erratic activity in the 12 kHz range, but I still wouldn’t characterize the mic (in common with almost all other ribbons) as having good high frequency response. If you have never used ribbons, this shootout will do nothing for you. But I never wrote the conclusion. The JRS-34 is available in active or passive styles; ours was passive. Face it — you’re a gear snob. http://recordinghacks.com/2012/09/04/quest-for-the-ultimate-live-sax-mic-ribbon-shootout/. Before this experience, I was not aware how directional these microphones’ figure-of-8 polar pattern really is. Mic Database | Mic Reviews | Microphone Sale, Wednesday, July 13th, 2011 | by matthew mcglynn, [This is part II of the $60,000 Ribbon Mic Shootout.]. People are using sampling rates of 96 kHz and above to record these mics that barely have a useable frequency response past 8000 Hz: why? Everyone had something critical to say about everyone else’s mix. “Even among condensers, the difference isn’t that simple, otherwise we’d need only one.”. If you want to waste your money on hocus-pocus, well hey, that’s your call, it’s your money. I bought the 24 bit versions of the guitars, drums, and sax. Impression: The piece of equipment that allows me to record the material in the most relaxed way. That piss-poor performance is what some people like to call “warmth”. The RCA KU-3A, aka the “10001,” is a rare and cherished vintage mic from the 1940s, still in weekly use by voice actors who seek to emulate the sound of old animations and movie sets. Have fun with your Nady condensers and ART preamps. We had four engineers and five performers; we recorded saxophone, drum overheads, two guitar cabs, two acoustic guitars, and three character voices. I asked some dealer friends too, but nobody had the mic in stock. In the 20’s and 30’s they had lo-fi equipment but turned out great recording because the musicians had to be excellent as there were no over dubs. But you can’t put a ribbon mic right on top of the instrument like you would a ’57, in many cases, because the ribbon’s strong proximity effect can create unwanted bass boost. listened in on the blind test and gave each mic a rating The bulk of the questions were about getting the best quality for the least money. Several months ago I saw an Electro-Harmonix ribbon mic for sale at a musical equipment store, though I remember it looking an awful lot like the Oktava ribbons, which makes me suspect it was a rebranded Oktava. The Royer Labs R-101 is Royer’s new entry-level ribbon. I had a gentleman come to my studio and I put him on a U-87 and he did not sound good. coles 4038 came out on top with 3 stars..handles the mid range the smoothest. The Shure KSM353 is Shure’s premium passive ribbon mic, formerly known as the Crowley & Tripp El Diablo. I thought enough of the Cascade VIN-JET to buy a pair. VERY curious to know pricing and release dates. My favorite all rounder is the Samar! The AEA R44C was the heaviest, most monumental microphone in the lineup. But they’re not, and I can think of better things to do with my money, particularly in a time of recession. http://www.roxdon.com/, This was a FANTASTIC shootout. Many ribbon mic housings come from similar OEM in China. The AEA R92 was designed with reduced proxmity effect, enabling it to be used as a close mic without excessive bass buildup. Passive ribbon mics have very low output levels, comparable to an SM57. Tried to reproduce that sound? Iconic in design, it’s the mic that launched a thousand guitar tones. The Royer Labs R-121 is perhaps the best-known passive ribbon microphone on the market. It sounded good or great on most everything. I always follow some simple rules when choosing recording equipment. Thanks! The giant $60,000 ribbon mic shootout would not have been possible without Randy Coppinger and Ryan Canestro. At the end of the day, no one who enjoys music cares how you made it: they just care that you did and did well. I picked my favorite mics at a few different price points. All ribbon mics share some characteristics, just as all butter knives do, and it is therefore fair to make generalizations about them. I saved this page and was hoping to refer to the ribbon mic shootout, but some files didn’t play, and I don’t see where I can find out which mic is which. I spent weeks writing up the seven-part series. And that’s probably true for some of the less expensive mikes. A friend turned me on to the Cloudlifter box a few months ago and it was an unbelievable find. And let your fear and your prideful guard down a little so that maybe you can enjoy living and laughing a bit more. But ribbon microphones are still in use today, and are praised for their faithful reproduction and natural sound. The Shure KSM313 is Shure’s two-voiced passive ribbon, formerly known as the Crowley & Tripp Naked Eye Roswellite. There are valid reasons to keep a few dynamics in one’s mic cabinet, but outside of one or two stereo miking techniques, there’s no good reason that I can see for ribbons. I don’t believe in magic. The SE Electronics Voodoo VR2 is the active-electronics version of the VR1. Ideally they have a flat extended response or a tailored curve for particular applications. … I’d be very happy to use the Samar Audio MF65 in a wide variety of recording situations. I tried to get a sample of each, but neither vendor responded to my last-minute request. Seriously there is a lot of equipment for many uses as well as here are different people choosing a different piece of equipment making different sounding recordings. If you’re used to Cardioid condensers, you will be surprised at how little a Fig-8 ribbon picks up from off-axis. I’ll probably cough up the $9.95 for plans for the do-it-yourself “Austin” ribbon mic, as I think that’ll satisfy my curiousity without breaking the bank, and leave me with a mic that I expect will be a good deal better than the Chinese cheapies. Ribbon mics are some of the oldest available, and fell largely out of common use with the advent of tube mics. Some people like to do Civil War reenactments. But there is most definitely the magic of our entire universe, that physics exists at all, that we can hear at all, that people have bad amazing ideas on how to built equipment to capture and reproduce sounds that can help us survive in a hurting world, and even that we are breathing one more breath. The Shinybox 46U is Jon Ulrigg’s latest handcrafted passive ribbon mic (built in Washington state). I was in a guitar shop and the salesman had me close my eyes as he played two guitars. For me, the AEA R84 is hard to beat. “Don’t discount ribbons too quickly. I know they do. One is from Gauge USA, and the other from Bees Neez. But all this is not new stuff, back in the beginning of 70s Nagra/Kudelski used to manufacture the QPLE plug-in preamp especially for the Beyer M160/M130 microphones (approx. The sound quality was not great but the music was. can make them like new again most reasonably. 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