Ribbon Mic Comparisons...

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Sonixx

Sonixx

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Here are mic comparisons in this order:

  1. R92
  2. Trion7000
  3. Fat Head
  4. R84

with these speakers:

  1. V30
  2. Greenback

The same reamp signal was sent for each clip.

No amp changes and no post EQ. Albeit, a bit of bottom end compression post tracking... the same for all.

Each mic was positioned 6.5 inches out from speaker rim aimed dead center.

Here are R92 and Trion7000 examples...
R92_001.jpg

Trion7000_003.jpg
 
Those are cool -- thanks! I'd love to hear them with no reverb.

What's up with the R92? Is something wrong with it? Bass just isn't there.
 
the R92 has built in bottom roll off and I have the TRP Pre roll-off switch engaged so it's getting a double whammy. the R92 is designed for close micing whereas the others have significantly more proximity effect. also, it has way more mids than the others so side-by-side it seems way less.
 
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Good point -- when I mic with my cheap modded ribbons, I wind up chopping off the awesome sounding bass portion so it doesn't get wrapped around the axle wtih the bass guitar and kick drum.
 
I think R84 and R92 have the nicest top end representation.

The greenbacks sound fantastic.
 
Sonixx- is a ribbon something you use pretty regularly for metal guitar tones? I play/record a lot of heavier metal tones but have never tried a ribbon. I liked the sounds you got with all of these but the AEA's are out of my budget right now. The FAT Head looks like a pretty good option.
 
Wireneck,

The Royer R121 is probably the most used Ribbon for Metal tones.

One issue that must be dealt with is proximity effect. Ribbons can really have a pronounced proximity. Unlike a 57, where you can slam it up against the grill. Ribbons require more care be taken to avoid air blasts that can stretch or break the ribbon... also avoid phantom power.

The result can be excellent and ribbons take EQ very well.

Since I have experience with these, my recommendation is take a look at either a Trion7000 or Fat Head. They will get you a seat at the table at a reasonable price of admission. I'm sure others can chime in with other recommendations.
 
Sonixx said:
Wireneck,

The Royer R121 is probably the most used Ribbon for Metal tones.
Click to expand...

I always forget about royer 121s. as I do more and more work in my home studio I try to get great tones from cheap gear (which is definitely quite possible).

But of course you're right - good to bring this back into the professional gear level for a bit! interesting thread and great post.

Cheers,
Don
 
ahh so the six inches out from the speaker is because of the proximity effect on the ribbons.

I guess what I was trying to ask in my other post.....when someone comes in with a high gain amp like the 5150 do you reach for a ribbon before something like a Sm 57 or an Sm 7 ?
 
Wireneck said:
ahh so the six inches out from the speaker is because of the proximity effect on the ribbons.

I guess what I was trying to ask in my other post.....when someone comes in with a high gain amp like the 5150 do you reach for a ribbon before something like a Sm 57 or an Sm 7 ?
Click to expand...

I often mic with two (ribbon and dynamic) and mix to mono post tracking, adjusting level ratios and phase relationships.

yeah, the distance is minimizing proximity and air blast and balancing the tone. I'll also use a pop filter on the ribbon.
 
I don't know any of these mics...but I liked the Fathead sample per my ears.
 
Sonixx said:
One issue that must be dealt with is proximity effect. Ribbons can really have a pronounced proximity. Unlike a 57, where you can slam it up against the grill.
Click to expand...

Overgeneralizing much? :)

AFAIK, proximity effect is determined by the pickup pattern measured at various distances, and thus a cardioid ribbon should have roughly the same proximity effect as the SM57. For your more typical figure-8 ribbons, yes, they would tend to exhibit greater proximity effect than the SM57.

Admittedly, I think they may have rolled off the bass on the SM57, but that only reduces the magnitude of the proximity-adjusted bass output, not the relative change in bass output. Whether this should matter to you or not depends largely on whether the mic is moving, but the difference can be trivially removed with a touch of LF cut EQ on the cardioid ribbon.

The Beyer M360 is a cardioid ribbon, as are the RCA BK5, the Silvia Classics SC-5C modeled after it, and the Telefunken USA RM-5C mic that the SC-5C turned into. And I hear it has gone back to being the SC-5C at roughly half the price. Worth getting it direct from SC if you're interested in these.

There are also plenty of hypercardioid ribbons, e.g. the Beyer M160, M260, M320, though hypercardioid mics exhibit more proximity effect than cardioids (but still less than figure-8).
 
Between the R84 and the R92 ribbons, which do you guys recommend for guitar recording? I play an LP Supreme, Gretsch Tennessee Rose and a Les Paul Junior through either a VOX AC15 Heritage or a Marshall TSL-122. My style is 60s-70s rock, and some jazz.
 
the R92 is specifically taylored for gtr cab recording. the R92's bottom is rolled off and there's more upper mids... as you can hear in the clips.
 
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