Ribbon Mics

[Newbie dude]

I used to think there was only Condensor and Dynamic Mic's. Then I hear about Ribbon Mics. What are they? How do they work? What are they used for?

 

[EVT]

Hi,

http://hyperphysics.phy-astr.gsu.edu/hbase/audio/mic.html#c3

evt

 

[Big Kenny]

ask mshilarious, he gives 'em away

 

[Richard Monroe]

Essentially, a ribbon mic is a form of dynamic mic that uses a thin ribbon, usually aluminum, instead of a diaphragm. By their design, as far as I know, they are all bidirectional (figure of 8). They put out a very weak signal, so therefore require a preamp with balls. They are standards on guitar cabs, vocals, especially for vintage jazz/chaunteuse/Broadway sort of vox. They are used on some percussion, and a standard on brass/sax. They are delicate, not well suited to wind (don't blow into one, ever). Until recently, they were all pretty damned expensive. Beyerdynamic makes some that are a little less pricey,including some handheld models, and Oktava builds a couple. I own an Oktava ML-52. A goodly percentage of them, especially older ones, will be instantaneously fried by phantom power, so they are right out on mixers w/ one PP switch, in conjunction with condensers. Classics include offerings by RCA, AEA, and Royer, in particular. Lately the Chinese have been building cheap ones that have gotten pretty good press, but how they will do over time is not really known yet. Hope that helps.-Richie

 

[Adam P]

Beyer M160 is hypercardioid.

 

[Warhead]

ask mshilarious, he gives 'em away

Where is the line? I'm ready!

War

 

[AGCurry]

By their design, as far as I know, they are all bidirectional (figure of 8).

They are *naturally* bidirectional, but many have vents and baffles which change the pattern. The RCA 77 - one of THE classic ribbon mics - has switchable patterns. The Shure 330/SM33, Beyerdynamic 160, 260, and 500 are all cardioid or hypercardioid.

A goodly percentage of them, especially older ones, will be instantaneously fried by phantom power, so they are right out on mixers w/ one PP switch, in conjunction with condensers.

Not so. No ribbon mic - properly wired and with a cable which is properly wired - should be damaged by phantom power. What you have to be careful about is plugging or unplugging them when phantom power is on, as one connection may make or lose contact before the other contact. THAT's what's fatal.

 

[punkin]

Just wait until you learn about the Velocity microhpone

 

[homestudioguy]

Shiny Box anybody?

FYI-www.shinybox.com for a look at some nice lower cost ribbon mics.
BG/HSG

 

[Richard Monroe]

AGCurry and Adam P- Thanks for the corrections-Richie

 

[Adam P]

Not so. No ribbon mic - properly wired and with a cable which is properly wired - should be damaged by phantom power. What you have to be careful about is plugging or unplugging them when phantom power is on, as one connection may make or lose contact before the other contact. THAT's what's fatal.

To expand, courtesy of Mr. Albini:

"Ribbon mics are transformer-isolated, so the phantom power never reaches the ribbon element. The tranformer is incapable of passing a DC current.

Phantom power is only dangerous to ribbon mics for one reason: If the phantom power is hot when the microphone is plugged in, and one leg of the balanced connector makes contact before the other, there will be a temporary spike in the transformer, which will be back-coupled to the primary side, and will drive the ribbon like a loudspeaker element. If this spike is big enough, then the ribbon will be stretched, deformed against the screening or broken.

Once the microphone is connected, the phantom power can be turned on or off with impunity. It is only during the moments of connection/disconnection that damage can occur."

 

[punkin]

I like that , turning the phantom power on and off with impunity. I'm gonna give that on/off switch hell right now just because I can and it can't stop me .

 

[Adam P]

Yeah, I agree that its an excellent choice of words. Show that switch who's boss!

 

[ozraves]

I think of ribbon mics in terms of the old jazz records. Of course, Bob Reardon from sE mics told me the other day that maybe I like the sound of records recorded to a lathe. Speaking of sE, they make a high quality ribbon mic.

Ribbons were sort of not cool again until the Royer R-121 started getting the first call status for guitar amps. Wes Dooley came along and made the R84, which is an oustanding sax mic.

The last week or so I've been using a couple of ribbon mics, including the AEA R92 and the sE R-1. The R92 wins for coolest looking ribbon mic made. The R-1 just sort of out and out floored me. I expected it from the R92 (and it's an excellent mic). I've found both of these to be different sound yet complementary guitar amp mics.