Does a ribbon mic need a specific kind of amp?

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brassplyer

brassplyer

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I got an MXL R40 ribbon for grins, first ribbon I've had. My initial experiments with it haven't blown me away. It may be I haven't found the right formula for EQ'ing it. I've been really happy with MXL condensers I've had and I've seen good reviews of this particular mic. Wondering if my pre just isn't right for this mic. I have a Studio Projects VTB-1. I have to really crank it to get acceptable gain.

Thoughts? Any experience with this particular mic?
 
I haven't used that mic, but ribbons do take more gain. Really much like dynamic mics. Only ribbons are very detailed in my opinion, but possess great off axis rejection. Be careful as ribbons can be damaged by strong sound pressure levels.
 
The MXL ribbon is passive, and as such would be expected to have relatively low output. I had a quick glance at the specs and manual for the VTB1 and I suggest that you set the input impedance switch to the 200ohm position. Using the 50ohm low impedance input will, I think, load down the mic and cause reduced signal. Don't use phantom.

With 60dB of mic gain and 12dB of output gain, I'd have thought that the VTB-1 would be adequate.

Paul
 
PRHunt said:
The MXL ribbon is passive, and as such would be expected to have relatively low output. I had a quick glance at the specs and manual for the VTB1 and I suggest that you set the input impedance switch to the 200ohm position. Using the 50ohm low impedance input will, I think, load down the mic and cause reduced signal. Don't use phantom.

With 60dB of mic gain and 12dB of output gain, I'd have thought that the VTB-1 would be adequate.

Paul
Click to expand...

OK, I was gonna say this too.
Ribbons need a lot of gain and phantom power kills them . also they are delicate. Don't drop it.
And what he said.
 
Washburn100 said:
Ribbons need a lot of gain and phantom power kills them . also they are delicate. Don't drop it.
Click to expand...

A pop filter is also recommended if the mic will be used on a source that causes strong air movement (like baked beans :laughings:)

Jokes aside, a puff of wind can stretch the ribbon, so use a filter if you close mic vocals or wind or brass instruments.

Paul
 
I use VTB-1 pres with ribbon mics, and yes the gain needs to be cranked up as the ribbons don't have the same output as a normal condenser. Actually in the VTB-1 manual they say to have the impedance switch set to the 50 ohm position for ribbon mics, I actually flick between the settings until I get the sound I am after. Don't worry about cranking the VTB-1 you have to do massive amounts of crank before it get noisy.

Ribbon mics are a desired taste, it takes a bit of getting used to. However when you do get used to it you want to use them lots. Try experimenting with mic position as the ribbon is a lot darker sounding than large condensers. What are you recording with it? I have had big success with Guitar cabs, acoustic guitars and trombone (that was very interesting) so far.

Have a read of this, good article and a bit about why you will hate ribbons the first time you use them (exactly how I felt).

Alan
 
Richard Monroe said:
Like most ribbons, Moresound, it's a figure-of-8 mic. Picking the wrong side would be hard.-Richie
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Well the "back" side of the figure of 8 always seems a bit weaker (to use that word) to me than the front. Am I wrong?
 
moresound said:
Well the "back" side of the figure of 8 always seems a bit weaker (to use that word) to me than the front. Am I wrong?
Click to expand...

I am not sure about all styles of ribbon mics, but the fathead style that I use seem to be identical on both sides. In fact if I set them up with another mic and it's out of phase, I often just spin the mic round 180deg.

alan.
 
moresound said:
Well the "back" side of the figure of 8 always seems a bit weaker (to use that word) to me than the front. Am I wrong?
Click to expand...

If the ribbon motor is truly symmetrical then that is a psychoacoustic effect--you are hearing your voice in the cans reverse polarity with the bone conduction of your voice inside your head, so it sounds thinner. However, on playback it is not so.

If the ribbon motor is not symmetrical, then either side could sound "weaker", depending on its construction.
 
mshilarious said:
If the ribbon motor is truly symmetrical then that is a psychoacoustic effect--you are hearing your voice in the cans reverse polarity with the bone conduction of your voice inside your head, so it sounds thinner. However, on playback it is not so.

If the ribbon motor is not symmetrical, then either side could sound "weaker", depending on its construction.
Click to expand...

What would make the motor not symmetrical? I thought that ribbon mics were more or less symmetrical by design?

Paul
 
Some are purposely (or not-so-purposely) asymmetrical with respect to the ribbon placement inside the motor assembly. Also, any asymmetry in the chassis will cause a difference in frequency response.
 
Thanks for the detailed explanation, MS. In any event, I doubt which side the mic was addressed would cause the major effects described by the OP. Now, if he used it as an end-adressed mic, it might, especially given the extremely low null-field response of figure 8's.-Richie
 
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