Ribbon Mic ... Which One Then??!

ozraves said:
I tried the AEA R84 and while I liked it I did not get a good sense of it being the thing for home recording. My own view after thinking about it for months has to do with it needing some space off of the source. I'm talking about more than six inches too. I'm probably thinking in terms of over a foot off the source or even two or three feet off the source.
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FYI, when working with ASC Studio Traps and the resulting Quick Sound Field. the typical working distance is about two feet. Fig-8 and omni both work great. That creates a high quality, reproducible acoustic subspace and is a great way to get truly outstanding results, even in a modest sized room with relatively little other treatment. Of course, eight traps will set you back a bit over $3000 if you buy them new. BTW, I have no financial connection to ASC, their stuff simply works and nothing else does the same job.

Cheers,

Otto
 
I use the Apex 210 ($115 from fullcompass) and it beats any "budget" condensor I've ever used. It isn't on par with my 414, but none of the condensors under $300 dollars can beat it, and I never use the 414 for voice anyway.
 
Big Kenny said:
Caveat: You get what you pay for.
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Which pretty much summarises it all.

Looking at those raving reviews about Chinese ribbons I am wondering if those "famous reviewers" ever heard a nice ribbon mic :rolleyes:

It is impossible to properly make a ribbon mic even for $150, wholesale, and we are talking about $50, at the most.
 
I guess we'll find out, as I said. I won't be surprised if it sounds good, or if it sounds like crap... Im expecting somewhere inbetween, but who knows :p
 
I picked up a Nady RSM-4 when it was on MF's "stupid deal" the other day ($150). Haven't received it yet but I went and read the owner's manual online. Holy carp! Are these things as fragile as the manual makes it seem? I will be afraid to look at the mic when it arrives!
 
ROG951 said:
I picked up a Nady RSM-4 when it was on MF's "stupid deal" the other day ($150). Haven't received it yet but I went and read the owner's manual online. Holy carp! Are these things as fragile as the manual makes it seem? I will be afraid to look at the mic when it arrives!
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No, Nady is just covering their asses in the warranty department (although, I've heard they will re-ribbon the mics, for a fee, if you blow them). Here are the keys, imo:

1. Don't blow directly onto the ribbon mechanism. Always use a pop filter for any plosive source. There are actually several layers of wire and nylon mesh surrounding the ribbon on the RSM-2, which would prevent almost any plosive damage, but I'm still careful with it. I think the RSM-4 has a couple of layers too. Likewise, you might want to avoid running sprints/relays with the mic as a baton or using it outside on windy days.

2. Don't plug/unplug the mic with phantom power running. As long as the mic and cable are wired correctly, phantom shouldn't hurt it, but it's a good idea to not use phantom power at all when running a non-phantom-powered ribbon.

3. Store it upright. I don't know if this is really an issue, but I do it anyway. There are potential issues of ribbons "sagging/stretching" if not stored properly. The ribbon element is pretty lightweight, so I doubt the sag would happen quickly, but it's just another cya tactic.
 
ozraves said:
I haven't used any of the cheapies.

My faves thus far: sE R1 Ribbon and the AEA R92.

I tried the AEA R84 and while I liked it I did not get a good sense of it being the thing for home recording. My own view after thinking about it for months has to do with it needing some space off of the source. I'm talking about more than six inches too. I'm probably thinking in terms of over a foot off the source or even two or three feet off the source.
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Steven,

I've also looked at the R84 and the R92. My preamp is a JoeMeek threeQ so I don't know if that will be enough to drive it.

At this point I will be using is just on my voice. I sing opera, classical, 1940's big band, country. The projects I want to start are 1940's style.

You mentioned you were concerned about it needing space. My room is 10X11X8 and only partially treated. I have a "tent" built out of pvc with heavy draping on top and 2 sides and the mic is placed inside it. It works fine with my SP TB1. No room noise.

Given the type of room would the R92 be better than the R84? I also thought about the Crowley & Tripp because it works with most preamps and the Naked Eye can be had for a great price. I could maybe save and get one of CT's Proscenium or Studio Vocalist and pay the same as getting an R92 or R84 and the AEA pre.

Any thoughts?

Thanks!
 
scrubs said:
No, Nady is just covering their asses in the warranty department (although, I've heard they will re-ribbon the mics, for a fee, if you blow them). Here are the keys, imo:

1. Don't blow directly onto the ribbon mechanism. Always use a pop filter for any plosive source. There are actually several layers of wire and nylon mesh surrounding the ribbon on the RSM-2, which would prevent almost any plosive damage, but I'm still careful with it. I think the RSM-4 has a couple of layers too. Likewise, you might want to avoid running sprints/relays with the mic as a baton or using it outside on windy days.

2. Don't plug/unplug the mic with phantom power running. As long as the mic and cable are wired correctly, phantom shouldn't hurt it, but it's a good idea to not use phantom power at all when running a non-phantom-powered ribbon.

3. Store it upright. I don't know if this is really an issue, but I do it anyway. There are potential issues of ribbons "sagging/stretching" if not stored properly. The ribbon element is pretty lightweight, so I doubt the sag would happen quickly, but it's just another cya tactic.
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Cool. Thanks for the info! I kinda figured it was a CYA by Nady. I mean, I know enough not to blow into a ribbon or hook it up to phantom, but they really overdid it with the warnings!
 
I'm very protective of my non-occidental ribbon mic as well.....

but also keep in mind that the thing did survive UPS shipping!
 
soundchaser59 said:
I'm very protective of my non-occidental ribbon mic as well.....

but also keep in mind that the thing did survive UPS shipping!
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Hahahaha! Glad your mic survived the trip to your studio. I wasn't so lucky with a Mesa 2x12 cab recently! The thing was built like a tank but UPS found a way to destroy it! :(
 
Hey guys - what do you think of the Peluso R14? I know Mikey likes 'em. Anyone else? I'm thinking of them as a stero pair for live recording.
 
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