You can hear the recordings (both compressed and natural) at www.soundonsound.com/sos/dec07/articles/ribbonmicsaudio.htm. by Theron D » Mon May 29, 2006 9:45 pm, Post The Royer was lovely on acoustic: intensely clear, yet full. The SE ribbon, I'm afraid I found quite uninteresting — it isn't bad, but then there isn't anything inspiring about it either. Greg observed that it gave a "nasal sound — not much information in the top and bottom frequencies. Post by ted dawg » Tue May 30, 2006 3:41 am ... i know only from a musician standpoint as i'm very inexperienced 'engineering,' but I know that I've never lost with an m130, m160, or 4038. Again, for the price, the performance of this microphone was excellent. The GA R1 Mk2 and the Active Mk2 particularly stunned us as amazingly good all-rounders for the money. It had a very nice body, with a lovely, solid mid-range. We all donned our shades and Tiki shirts and sipped our pina coladas as we soaked up the sound of early Motown jazz-funk guitar (well, Motown didn't make jazz-funk, but you get the idea). Like the Beyer, it exhibited a little bit of a nasal pinch in the upper registers, but this was made up for by the overall tone, which was really nicely balanced. The high-frequency transients were unclear and rather subdued. We tested four pairs of mics as stereo overheads. Also a pair of Beyers would be less expensive thereby allocating more $ for something else and the 160 pair will come in handy on lots of other stuff - guitars, piano, percussion. Mastering Essentials Part 3 - How loud should I master? Had the most 'air' of these ribbon mics and was notably the one tuned most for vocal recording. Very interesting thread. Because ambient mics like this are commonly compressed hard and used to add punch to a mix, we ran the takes through a UAD1 1176SE compressor plug-in, set fairly aggressively to simulate the sort of treatment this positioning would probably receive. Although perhaps not the first choice as a general-purpose vocal mic, its character is very smooth and classy and I can imagine a rock vocalist with sibilance problems would suit this mic well. Easy baby... the Sigma turned our guitar into an instant bit of imaginary 1950s vinyl history — all mid-range cool, with no pretence at trying to be zingy at the top. by Recycled_Brains » Wed May 31, 2006 10:45 am, Post Any reason the 4038's would be any better than the M160's other than personal taste? For the purposes of this test, we listened for the part of the room which picked up the most even overall picture of the kit in mono, and positioned our ribbons there. Greg's impression was favourable: "The front gave a smooth sound, with good detail and emphasised mids; the rear, a smooth, silky sound, with good detail, but without being bright.". Here are Greg's comments on the seven mics he tested, in order of preference (The second-round mics we received later — Groove Tubes, Blue and Beyer — weren't involved in this test). Today I review a double ribbon mic from Beyerdynamic, the M160. The Crowley & Tripp Studio Vocalist turned out to be our favourite for the test vocalist. We really liked the R2 in this role — it had a lovely kick and snare drum ring, and some of the character of the Sontronics Sigma. The vocalist liked how she could 'hear everything'. All three of these are among my favorite mics on guitar amps, horns, and drum room mics. Greg Chandler said he found the mic had a "clear, detailed and even response, with condenser-like qualities. The active version is a touch more flattering at both ends of the frequency spectrum, and isn't so fussy about the choice of preamp, but in other respects the two are very similar. ", "On clean guitar this produced a very nice, balanced sound, with good transient response and clear highs; also clear on distorted guitar. It picked up a nice balance of the kit, and added a great deal of depth to the sound of the kit when blended in with the closer mics and overheads. Who let the drummer in here?? Studio Vocalist & Soundstage Image £1175 each including VAT. Despite its great showing on the vocal tests, this mic sounded phasey and too coloured on our drum kit, with splashy, sibilant cymbals. by ??????? 'Tasteful' was the first word we wanted to use when hearing the R84 on vocals. Jon Cotton is a producer, composer and string arranger based in Birmingham. Good transient response. Greg found the tube qualities a little more frustrating: "The top end was very sizzly and spiky, with too much top-end distortion on vocals. the 4038s are the balls for overheads. It is a figure 8 version, like the Coles. Nice 'old' sound, but quite boxy on distorted guitar. In general, the higher-end mics tend to be more consistently useful, but our choices weren't as tied to cost as we had at first expected — and this points to there being ample room in the market to find some real bargains, which will be good news for home and project studio owners. Beyerdynamic M160 Ribbon Mic Review / Test. R1 Mk2 £109; R1 Active Mk2 £169; R1 Tube Active £229; R2 £79. The way it smoothed out the abrasive cymbols....I started using ribbons as OH's. Listen Now. by mr scratchy esq » Wed May 31, 2006 1:26 pm, Users browsing this forum: Google [Bot] and 15 guests, Recording Techniques, People Skills, Gear, Recording Spaces, Computers, and DIY. I found that this mic worked better when blended with the Royer R121. A nice, clear snare sound is let down by the swallowed cymbals and lack of obvious character, and the detail is mediocre.