The Cascade Microphones VIN-JET also had a Lundahl transformer upgrade. Now, how can you possibly judge the merit of this microphone if you not only haven’t built one yourself, but haven’t made the slightest effort to even inform yourself about it? The Royer Labs R-121 is perhaps the best-known passive ribbon microphone on the market. Cascade sells these complete for $399, including shockmount and metal flightcase. What we learned was everyone had a different idea of how something should be mixed. As Bruce Swedien says, microphones are the magic of what we do in the studio. Sounds & looks fantastic. Studios ditched this technology en masse for a reason. Don’t discount ribbons too quickly. It uses a long-geometry ribbon like the ShinyBox 46U (presumably) and the AEA R44 and R84. I didn’t like much in this category for all-purpose recording. Now that I’ve listened to samples and shootouts online, I can’t say I’m surprised everyone abandoned this technology when a viable alternative came along. The SE Electronics Voodoo VR2 is the active-electronics version of the VR1. Let them be excited to share what they’ve learned. I also find it gets an instant “vintage” quality without sacrificing the top end. I had a lot of fun with the beyerdynamic M 130. And I love not using them at times as well. First I sent him a box of dynamics, then we got a bunch of condensers, then we tried a bunch of ribbons. Posted in Microphones, Shootouts | 42 Comments », Previously: The $60,000 Ribbon Mic ShootoutNext: Ribbon Shootout: Clean Guitar. I like a lot of bass. Leave a comment, in case we decide to do this whole thing over again. I was in training with 25 other sound engineers and we had to critique each other mixes. 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. I choose a ribbon over a condenser almost every time. Therefore you need a lot of ultra-clean preamp gain. Both clocked an unhealthy number of hours to make this project happen. I’ve heard it said by a couple of people here that now that they’re using ribbons, they would never use a capacitor mic. Won best of class in the low end. But what good is that if the equipment is straining? And verily I say unto thee, there is no added noise, and you don’t have to crank your preamp! While there is a noticeable bass peak with this mic, it is gentle. We all claim that we agree on this, but then we start bashing equipment that we prefer or don’t prefer based solely on our own experience, even claiming that the equipment such and such prefers is useless or crappy at best. For their generousity and expertise, I am deeply grateful. Each is best suited for which ever mood and impression you intend to express. I picked my favorite mics at a few different price points. The AEA R44C was the heaviest, most monumental microphone in the lineup. I want to say thank you so much in advance of everything being published. I think you might have missed something good. Audio-Technica AT4080 is the larger and quieter of the two active A-T ribbons (the other being the AT4081). Besides, I ended my previous post stating that I would try a ribbon mic, so your telling me to try one was totally unnecessary. Cloud Microphones JRS-34 was designed by Stephen Sank, son of the RCA BK-11’s inventor, Jon R. Sank — for whom this microphone is named. 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. Mono Kit Room Mic. Before this experience, I was not aware how directional these microphones’ figure-of-8 polar pattern really is. Perhaps someone already mentioned this, but I recently discovered the cure for low-output ribbon mics. I love dynamics… D12, SM7b, RE20, Beta 58, SM57. And besides the mentioned RCA BK5 (of which about 2 dozen have recently changed hands on ebay) how about the Matshushita clone of the BK5 or the Oktava ML-17 or the Shure 330,33,333 ribbons. As Corey Burton said, it puts a “sheen” on vocal tracks — it makes voices sound exciting. Unrestored ones still seem to exist in pretty large quantities, and a certain elderly wizard whose initials are Clarence Kane (whoops!) VERY curious to know pricing and release dates. People’s ears are differen, and some are terrible(although you’d have a pretty tough time convincing me that every engineer I’ve ever worked with has terrible ears and yours are somehow VASTLY superior). My suspicion is that ribbon mics have made a comeback partly for reasons of nostalgia and partly because more people are realizing that bright capacitor mics and digital recording systems aren’t always the most musical combination. Mortality and a finite bank account prevent me from trying everything there is to try. Like the KSM313, it has an indestructible “Roswellite” ribbon. Lundahl’s website says of their LL1927A transformer “normally requires active output stage”. The 44rx and R-122V : wow… amazing mics !!! But it isn’t representative of all such mics. The SE Electronics RNR1 is the result of the Siwei Zou/Rupert Neve collaboration; the mic has two Neve-designed transformers and active electronics. Does that mean their uniforms are better? This mic gets frequent use at the Disney Character Voices studio. can make them like new again most reasonably. The Royer Labs R-122V is the tube version of the R-122. recognizing the pitch of a note by ear alone). The metal parts on one are more satin-finished, and the other one appears to be gold-plated. +20dB & an excellent Nagra transformer). The sound files I have listened to both here and elsewhere have told me far more about ribbon mics in just a few hours than I could ever learn from mic collectors with a vested interest in preserving the value of their collections. Also, the idea of putting acoustic treatment behind the microphone (to emphasize the front side of the mic) was a breakthrough for me. That’s what expensive stuff does for you. I clicked on the results and nothing came up. Cost is only an obstacle. 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. Try some for yourself. @Pete, thanks for the nice comment. The Royer Labs R-101 was a standout voice microphone. Sooo, what happened to the cardioid ribbon shootout? EH? The spectrum display in Cool Edit Pro and other software confirms what my ears tell me. But ribbon microphones are still in use today, and are praised for their faithful reproduction and natural sound. Being willing to learn from each other and/or even appreciating how another person uses different tools to craft a good sounding result in the end is such a crucial attitude to have, or we cease to grow. If I heard the MF65 I’m sure I would break my piggy bank and go into debt. I will, however, unequivocally say that the differences between microphones of similar type aren’t nearly as important to the final product as the average gear snob makes them out to be.

ribbon mic shootout

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