A
analogelectric
New member
I love my ribbon mics (most might consider it to be unhealthy) and I'm particular on what ribbon mics I'll purchase or at least the care involved.
I have an RCA 44BX which is on every record I've done since I bought it three years ago. Used sometimes for vocals (depends on the vocalist), guitar as a secondary mic, and/or bass.
An RCA BK5b is amazing on guitars and sometimes a distant room mic.
A pair of RCA 74b juniors. Mine were bought through Mercenary Audio with fresh ribbons and they're great for guitars. Similar to the 44BX but less low end.
Phantom Power can ruin some ribbon mics. Most ribbon mics, even vintage ribbons, compensate a bypass cap filter just in case Phantom Power is on. Otherwise Phantom Power can light up the ribbon like a wick therefor you'll need it re-ribboned by a pro, for example, Stephan Sank or Wes Dooley.
Sound pressure and improper storage of a ribbon mic can stretch out the ribbon element over time (or if the pressure is heavy enough it could almost be instant). I use two pop filters on my ribbons when they're in front of a blazingly loud amp or any other source for that matter.
Ribbon mics are supposed to be stored upright like on a stand and not on its side. Having a ribbon mic stored upright will allow even weight/gravity distribution across the ribbon element. If it's stored on its back or side the ribbon element is being "bowed" thus leading to stretching thus leading to a dull sound.
All ribbon mics I've ever used, even the newest Royer's or AEA's you do need a mic pre with plenty of juice and a low noise floor.
Coles 4038's are great ribbon mics but they're the type of mics you'd want to get as a matched pair. Beyer makes some great ribbons as well.
Anyone that buys a ribbon mic, especially if it's used, should expect to have it re-ribboned as part of your cost-figure. Example if you buy ribbon mic "X" for "X" amount of money make sure you have at least $100 to $250 put aside for a re-ribbon job. A ribbon mic with a new ribbon will last you a good 1 to 3 years dependent on use and user care. I baby my ribbons and protect them like children or a car that needs a yearly tune-up. Is it worth it? Yes, without a doubt.
I have a theory about engineers regarding mics:
Step one: Dynamics
Step two: Condensers
Step three: Tube
Step four: Ribbons
If engineers make it to Step Four that means you've hit a point of no return, you're officially geek'd. There are exceptions to my list just like anything else but I'm not that far off at least from all the pro engineer/producers I've known over the last 11 years.
Ribbons, honestly, are for those that know what know what kind of tones should be there and are workable (ie - EQ, if need be) during a mix. It's a character that I haven't heard EVER thru any type of dynamic, condenser, or tube mic; period.
In response to maestro_dmc's dilemma:
I've heard ribbons that have been destroyed by Phantom Power and it's not that they're only noisy but dull and hard to get any useable signal as well, from any kind of mic pre. Basically I could hear very little source plugged into my Neve pre but it sounded dull, hissy, and like I said quiet.
The Bellari mic pre's aren't that bad but they do hiss when cranked, more-so with their little DI/mic pre units as opposed to the studio racked 220's (I think that's the model number). But none-the-less, TASCAM console mic pre's are pretty hissy as well. If you have a pro shop like Guitar Center nearby I'd walk in with your ribbon mic (check it at the front door so they know you're not stealing it when you leave), talk to one of the pro audio sales-people and tell them you'd like to try a Manley, Neve, API, or what-have-you mic pre with your ribbon mic and see if you're getting the same results. Worse case scenario you'd have to get the ribbon replaced by a professional.
-- Adam Lazlo
I have an RCA 44BX which is on every record I've done since I bought it three years ago. Used sometimes for vocals (depends on the vocalist), guitar as a secondary mic, and/or bass.
An RCA BK5b is amazing on guitars and sometimes a distant room mic.
A pair of RCA 74b juniors. Mine were bought through Mercenary Audio with fresh ribbons and they're great for guitars. Similar to the 44BX but less low end.
Phantom Power can ruin some ribbon mics. Most ribbon mics, even vintage ribbons, compensate a bypass cap filter just in case Phantom Power is on. Otherwise Phantom Power can light up the ribbon like a wick therefor you'll need it re-ribboned by a pro, for example, Stephan Sank or Wes Dooley.
Sound pressure and improper storage of a ribbon mic can stretch out the ribbon element over time (or if the pressure is heavy enough it could almost be instant). I use two pop filters on my ribbons when they're in front of a blazingly loud amp or any other source for that matter.
Ribbon mics are supposed to be stored upright like on a stand and not on its side. Having a ribbon mic stored upright will allow even weight/gravity distribution across the ribbon element. If it's stored on its back or side the ribbon element is being "bowed" thus leading to stretching thus leading to a dull sound.
All ribbon mics I've ever used, even the newest Royer's or AEA's you do need a mic pre with plenty of juice and a low noise floor.
Coles 4038's are great ribbon mics but they're the type of mics you'd want to get as a matched pair. Beyer makes some great ribbons as well.
Anyone that buys a ribbon mic, especially if it's used, should expect to have it re-ribboned as part of your cost-figure. Example if you buy ribbon mic "X" for "X" amount of money make sure you have at least $100 to $250 put aside for a re-ribbon job. A ribbon mic with a new ribbon will last you a good 1 to 3 years dependent on use and user care. I baby my ribbons and protect them like children or a car that needs a yearly tune-up. Is it worth it? Yes, without a doubt.
I have a theory about engineers regarding mics:
Step one: Dynamics
Step two: Condensers
Step three: Tube
Step four: Ribbons
If engineers make it to Step Four that means you've hit a point of no return, you're officially geek'd. There are exceptions to my list just like anything else but I'm not that far off at least from all the pro engineer/producers I've known over the last 11 years.
Ribbons, honestly, are for those that know what know what kind of tones should be there and are workable (ie - EQ, if need be) during a mix. It's a character that I haven't heard EVER thru any type of dynamic, condenser, or tube mic; period.
In response to maestro_dmc's dilemma:
I've heard ribbons that have been destroyed by Phantom Power and it's not that they're only noisy but dull and hard to get any useable signal as well, from any kind of mic pre. Basically I could hear very little source plugged into my Neve pre but it sounded dull, hissy, and like I said quiet.
The Bellari mic pre's aren't that bad but they do hiss when cranked, more-so with their little DI/mic pre units as opposed to the studio racked 220's (I think that's the model number). But none-the-less, TASCAM console mic pre's are pretty hissy as well. If you have a pro shop like Guitar Center nearby I'd walk in with your ribbon mic (check it at the front door so they know you're not stealing it when you leave), talk to one of the pro audio sales-people and tell them you'd like to try a Manley, Neve, API, or what-have-you mic pre with your ribbon mic and see if you're getting the same results. Worse case scenario you'd have to get the ribbon replaced by a professional.
-- Adam Lazlo
...but the beyers...they're both hypercardiroid so it cant be that...what makes them different, if anything?
