Various ribbon mics compared
Hi all, I have the following ribbon mics:
four Altec 639a and b (vintage ribbon mics);
Two Altec 670 (one 670a, one 670b)
two RCA varacoustic (precursor to the RCA 77), however both my examples need work so I can't fairly compare them;
Two Oktava ML-52 ribbon mics
A matched stereo pair of Royer R-121s
A Shure 330 (I think that's the right model designation....the "Johnny Carson" mic)
A Shure 300 (the midrangy one, the elongated silver one)
An Electro-Voice VM-2 or whatever (sorry, I'm writing this post quickly, I can get the right info. later)
Beyer M500 and M260
unfortunately, no, I have no AEA mics, no Coles, no RCAs in good condition to compare with.
And I am VERY curious about the Nady ribbon.
I'm not a super-experienced pro engineer, but I've done my share of recording live albums (a few at Blues Alley, the world-famous jazz club in D.C.) and just recording my band over many years.
HOWEVER;
spec-wise, Royer is at the top I think, even though the R-122, the model I have, has a slightly thicker ribbon than an RCA or Coles or
Royer SF-1, so the transient response is I suppose just slightly short of completely stupendous (but I can't hear it).
Here is what I think about what I have, in a nutshell:
Intro:
Ribbon mics are the most natural sounding mics you can get. Once you play with them a bit, stuff recorded with condensers, at least some cheaper ones, sounds a bit tinny and overblown to me. However, I'll also take a nice large-diaphragm condenser (and a friend just sent me some vocals I think he did with his Studio Projects C-1 and it DOES sound really nice, like an old Beach Boys record...might have to look into that)
BUT: they can be susceptible to hum; this is especially true for older ribbons such as older RCAs and the Altec 639
yes, they need lots of clean gain (UNLESS you're miking anything halfway loud, then you're really fine even using a Mackie deck usually)
it's good to have more than five times the mics resistance for the input impedance of the mic pre.
I use a True Audio Precision 8 mic pre, and also an Art Gold variable impedance mic pre, and for the money am very happy with both. I'm also very happy, for the money, with Mackie mic pre's.
Royer R-121. Fabulous mic. Great, flat frequency response. Typical ribbon warmth and ultra-realism. Yes, they can stand adding treble and bass at times, but their signal is so clean, you're still better off than with an "ear candy" condenser in my opinion. Good hum resistance. I'm not sure if my basement is worse than other places, but my older ribbons (Altec 639s) sometimes pick up too much hum to use on anything but drums, and I've tried turning off all electricity other than the sound equipment, they still hum.
Altec 639a. If you look at the frequency curve on this mic (as it was published 50 years ago, God knows what my mics have now), it's somewhat all over the place, compared to the ruler-like response of the Royer, although I think its published response is flatter than
the Oktava ML-52. HOWEVER, the ribbon is thinner, and yes, I can hear more detail in the Altecs. Besides the hum issue, I like them better for some applications, I think they have a warmer feel in the bass than the Royers do. I could just be a fool, though, but this is how I feel about it. BUT, they do pick up hum sometimes, but other times, when they don't, they reallly really sound totally lush and fabulous.
Oktava ML-52. I did an A/B with the Royers, on drums, and really couldn't tell the difference, even though the ML-52's frquency response published curve (if you can get a hold of it) is frighteningly not flat. Strange. Perhaps it's me, but I think I have a halfway decent ear for a serious semi-pro at this. AND, these mics are VERY quiet, at least the one I have seems to pick up less hum than even
my Royer R-121. Again, though, this is based on my observations in use, don't take this as hard science, but this is what I've observed. HOWEVER, I have two of these mics, and one has stopped working, so quality might be a concern.
Altec 670. This is like a miniature Altec 639, plastic instead of metal, smaller. Instead of two mics in one (one very good omni dynamic, one bi-directional ribbon), they actually use a labrynth, like the RCA 77, to get various directional patterns. (Note: the Altecs are the only affordable ribbon mics with variable directional patterns.) The 670 has a very warm, lush tone, great on bass, but their high frequency pickup is notably lacking. You'd want to use this on something you would want to "warm up." I've used it on a guitar cabinet, with really really nice results.
Shure 330. Forgive me, I always get the 300 and 330 confused. I'm talking about the elongated, rectangular Johnny Carson-type mic here. I had one that I though sounded great, but the ribbon was loose (made a banging sound on louder sources)...so the ribbon just needs to be tightened. I got another one, and it's in good working order, but it doesn't have the bass pickup that the Royer and Altecs and Octava do, so it's pretty much a non-contender for me. Maybe it's just my particular mic, and again this is all based on non-full-time work, I'm always rushing through this stuff, so I might have missed something good about this mic. It DOES have great directionality, so this might make a good hi-hat or horn mic, I'm sure it would do fine for that.
Beyer Ribbons. In my experience, the models I have (the 500 and the 260) get very little bass. but they are directional, so that would be made up for on a close source. they get TONS of treble. So they would probably be great (with proximity effect) for miking toms, or hi-hat, or horns perhaps except sax perhaps because of the lack of bass, but please note I've never tried it. I just don't use them because they get no bass. Also note I have NOT tried the M130 and M160, the real "studio" mics; could be they sound much better in the bass response area.
Shure 300 (if I have the model number right)....the silver elongated "streamlined" one (side-address as most of these are): VERY midrangy. For that reason, I haven't given this much of a chance.
could be great for effects though, just haven't used it much.
Electro-Voice V2. this is a high-impedance mic, meant to go straight into guitar amps and the like in the fifties and sixties is my guess. I think these sound pretty good, I tried mine through an impedance switcher, but again I haven't used this much because of the impedance limitations.
RCA varacoustic. again, my two ones need reribboning and/or recabling, so I can't comment on these.
If you like old Stax records such as Green Onions by Booker T. or anything by Otis Redding, that supposedly is consistently an RCA 44 on the bass drum and a 77 miking the rest of the kit (that's right, two mics on the kit), according to Steve Cropper. Much of the fifites and sixties jazz classics have ribbon mics all over them, as most of you reading this probalby already know.
That's about the best I can do.
Lastly I'd add that the Nady is a "large geometry ribbon" mic (meaning I take if that the ribbon is "big," which means "large." I.e. like two inches long I think they say. This would put it in the category of
the RCA 44 only the ribbon might be of a thicker material (slightly). I surmise that it would have a warmer sound, and I've read that the AEA large geometry mic would be good for solo instruments, but not for picking up an entire orchestra from a distance. I'm very curious about the Nady and have almost purchased it but would like a real review of it or the opportunity to try first, and of course I have more than enough mics already for most applications. Don't have ANY large-diaphragm condensers so I might get a Studio projects C1 if in fact my friend's vocals (for a Chipotle restaurant radio spot, he recorded and wrote the "Burrito Girl" spot but didn't have the C1 when he did that), were done with that.
hope this semi-scientific, mostly subjective info. helps!
Rob
). Comparing them in real life is no option as I’m living in Holland and these babies are not available over here. 
