In a high ceilinged great sounding room I'd try the Coles. LDCs, Microphones | No. It's hard to imagine anybody on this board saying anything remotely negative about either of these mics...they're like everyone's favorites in the whole world. PreSonus StudioLive 32SC Series III Mixing Console. by Russian Recording » Wed May 31, 2006 7:38 am, Post QUALITY. i think the 160's might even be a little more rugged actually. Opinion was split on the Sontronics Sigma, until we all started to understand where it is coming from — which, really, is a slightly different place from most other mics on test here. Good transient response. It sounded totally different from GA's R2, with a clear, smooth top end, and a lovely warm lower mid-range. Its only arguable flaws in relation to the Royer were that it wasn't as detailed at the top end, and it gave a slightly smaller, more retro sound, which may prove problematic in the context of a mix — but for exposed parts it sounds very cool. The only down side would be our feeling that the high treble is a little recessed, so for sparkle on cymbals it might be worth supplementing with some condensers at times. Or Learn More . www.soundonsound.com/sos/dec07/articles/ribbonmicsaudio.htm, Win! In its defence, though, this isn't advertised as a vocal microphone but as "tailored for radio broadcast, soundstage, orchestral, and other applications requiring an uncoloured sound", which explains why the same company's Studio Vocalist performed so much better in this particular test. Although we didn't test the mics on spoken word, simply communicating with the vocalist over the microphone showed why it is still in use for voice-overs at BBC radio! The Sigma was notable for another reason: being phantom-powered, it required far less gain than most of the other mics on test. Transient response was great and the hi-hats were very much brought to the front. The Coles 4038 and Beyer M160 showed why they're some people's first choice for this application. The Golden Age Projects ribbons, while not getting the most favoured response in the comparison test, actually performed pretty admirably when you take their price into account. 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. We also recorded her through a Neumann M149 as a 'control' condenser comparison. Greg gave a second opinion: "I set [the R84] about four feet back from the drum kit and positioned it at the drummer's waist height. Beyerdynamic M160 Double Ribbon Microphone - Hypercardioid: $527.99 » M 160 Double Ribbon Microphone: $699 » View all offers for Beyerdynamic M 160 » Beyerdynamic M 160 user reviews. The Beyers are directional (hypercardioid), and the Coles are fig 8. Despite its great showing on the vocal tests, this mic sounded phasey and too coloured on our drum kit, with splashy, sibilant cymbals. I have used this mic on acoustic guitar, vocals and electric guitar, and as a drum room mic, and it has never failed to impress, even if it hasn't always been the most suitable choice. We liked the top of this microphone on acoustic guitar, and felt that it would sit rather nicely in a mix. It sounded a touch more distant — less detailed and not as controlled as some of the others — but with careful treatment, especially on the bass end, could be very useful as a warming addition to a condenser. The top-end extension would mean that supplementing the warmth with a condenser wouldn't be necessary. The SE sounded nice and lively, but was let down by its treble response. The Beyer's hypercardioid pattern, predictably enough, led it to give us a tighter sound, with less room than any other mic on test. Beyerdynamic M160 Ribbon Mic Review / Test. It would probably sound great pulled back a couple of feet and, like the GA R2, would make a good general-purpose 'warmer' for condenser recordings. It's a good mic but obviously not meant for this role. More Gear Reviews. Sontronics Sigma. 34 Ela-M 251 microphone by Kirt Shearer. The R84 had a nice, clear, sparkly top and a fairly resonant and flabby bottom end. ", "Reasonable level of detail in the sound overall, though perhaps a little little lacking in character and transient response with regards to the higher frequencies. Studio Vocalist & Soundstage Image £1175 each including VAT. Like the SE (discussed below), the 4038 seems to have quite a dip in the top-end, where the sibilants lie, yet it somehow seems to manage this naturally, so that the overall effect is that the 'esses' just seem to be not noticeable: 'classy' is the only word to describe the result. That said, we also felt it was able to cut through the mix in a similar way to the Royer, which, given the price difference, was quite a surprise. However, we also felt it 'swallowed' sibilants, rather as though we'd over-applied a de-esser — the result being that it almost gave our singer a lisp in places. The mics in our shootout fell into three rough price groups, which equated fairly well with how and where they were made. One of the most detailed ribbons on guitar, it seems to pick up less of the room somehow. stompboxjon's review "Multi Purpose" 4. The panel described the Mk2 as "even, smooth and with more presence than many of the mics on test." All rights reserved. The R1 Mk2 was very nice and balanced, with a more recessed mid-range than the Royers or the Coles. The reverse side of the mic, on the other hand, resulted in a tightly-controlled, brighter version of the same character, which we felt should sit fantastically in a pop mix. They are also the balls on gtr amps. Any reason the 4038's would be any better than the M160's other than personal taste? 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. While it is not so useful for the styles of music I work with, it is an impressive mic for its character alone. We loved this mic on acoustic. We were surprised to discover that our favourites in a particular application were not necessarily the most expensive. Later, Greg Chandler, over at The Priory Studio, recorded a different female vocalist with the same mics to give us a second opinion, this time at 12 inches from the mics, also using a Steadman pop shield. This is a warm and smooth sounding mic with a surprising amount of detail for a ribbon. It fell somewhere between the mid-range punch of the Royer and the vintage edge of the Sigma, but without having the detail of either. The bottom end was very controlled, verging on small for a ribbon. The vocalist liked how she could 'hear everything'. "Big sound, with strong, clear mids and smooth high frequencies. I like the Coles as OH, but if you're recording a whole band in a room, you'll get more bleed (and/or crappy room noise if your room isn't the best) in the Coles which may be a deal breaker. The Sontronics Sigma was also good for clean sounds, and the R84 also sounded good on both clean and distorted guitars, if a little muddy. GA's R1 Tube mic, in particular, can make a good character mic, or a good mic to use as part of a multi-mic setup. That said, the sound was impressively uncoloured. The dual ribbons in the M130 are back-to-front, rather than side-to-side as in some Chinese dual-ribbon mics. 'Robust' and 'musical' were the first adjectives that sprung to mind when listening to the R1 Mk2. We felt it would make a great first tube/ribbon mic for someone seeking some tube character, with the advantage of having that big, warm ribbon lower mid-range. Q. I thought this club was for musicians. The control mic was, again, an Oktava MK012 with cardioid capsule. Great for those wanting that sort of very vintage (dark) sound on a tight budget. Very interesting thread. In the same bracket, Groove Tubes have manage to price their Velo 8 extremely competitively, despite it being made in the West. From the very beginning, the M 160 has placed extraordinary demands on the people who produce it – from the precise strength of the pure aluminium ribbon and its exacting placement on the magnet shoe to the testing of vibration behaviour. 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. 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. Unlike the acoustic or vocal takes, the exact positioning of the mics was less crucial in this case, so we decided to put them all up at once and record in three batches. On guitar, it had a great deal of clarity. "I can hear everything," the vocalist told us, and we later ended up using this microphone above all the others on several of her lead-vocal takes. It's uncanny how it does that considering the figure-8 pattern, but it does.... ↳ 5/03-2/05: Off-Topic / Off-Color / Off-the-Cuff, ↳ 5/03-2/05: Musicians Wanted/Available, ↳ 5/03-2/05: Producer/Engineer and Studio Job Listings, https://www.facebook.com/estudio.ensenada.PR/, http://www.amazon.com/gp/product/B0002S ... n=11091801.
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