# The Ribbon Mic Thread



## synthpunk (Jul 30, 2017)

I've certainly been seduced by the sound of ribbon microphones the last couple of years.

Please post about your Ribbon Mics, bonus points for pictures as well.

What mic preamps/ gain boosters work best with yours?

What situations / instrumentation do ribbons work best on ?

What are the best bargain ribbon mics out there, which are the best clones?

General discussion, questions on the subject more than welcome.


----------



## dgburns (Jul 30, 2017)

I have an AEA84 and a Royer 122. The phantom power on the Royer makes it as loud as a regular condenser mic.
The AEA is big and dark, and maybe a bit boring at first. I find the top end actually a bit slurry, silvery and metalic when the highs are pushed after with eq. But getting in close gives a bass boost that due to the figure 8 pattern, can be welcome and useful. I spent months tracking violin with it and it surely needs a quick fast and strong mic preamp. I used a neve 1073 and not sure that was the right combo for it.
As for the Royer 122, it's life mate is the Chandler Germanium preamp. That combo is both sweet up top and large due to the germanium. Maybe my go to for accoustic guitars, and many say cello and eletric gtrs as well. Especially fender type amps with single coil guitars. Also figure 8, it is brighter then the AEA, and many claim it's the de facto solo brass mic.


----------



## TheNorseman (Jul 30, 2017)

I am interested in this topic too. The only audio I record is electric guitar and a tiny amount of vocals. For guitars, the sm57 has always been the obvious and only go to. Until this happened....

http://www.ultimatemetal.com/forum/threads/sm57-se-voodoo-vr1-passive-ribbon-winrar.1146422/


----------



## wst3 (Jul 30, 2017)

I have a pair of Royer R-101's a Royer SF-12, a Beyer M-500, and a Fostex M-88RP. I use them all, and with the addition a year or so ago of a Millennia Media HV-37 preamplifier they are getting even more use. I'd love to add a couple other types of ribbon microphones to the locker - highest on the list would be something like the AEA84.

This doesn't mean I don't use other type of microphones, they all have something they do well, but ribbon microphones have a musical smoothness that is just really difficult to beat.

I use the SF-12 as a room microphone, or as an overhead for a drum kit, and I used to use it a lot for location recording - I just don't do a lot of location recording any more.

I use the R-101s on guitar amplifiers in combination with either another dynamic (SM-57, E609) or a condenser (C-451, SR-77, sometimes a C-414 or TLM-193). Very flexible when it comes time to mix, almost no EQ required.

I use the M-500 as a vocal microphone, it is not as smooth as the old RCA microphones, but it can add a little something, especially to female vocalists. I've considered having it re-ribboned with RCA ribbon material, but I kinda like it the way it is. Maybe when this ribbon finally fails.

I use the M-88RP on brass, mandolins, banjos, even fiddles. I haven't recorded any of those since I picked up the R-101s, so they may end up replacing the M-88RP in some of those settings.

Recently I tried using the R-101 and a C-451 on an acoustic guitar. I like it, but it isn't quite what I was hoping for. I need to go back and pair the R-101 with a large capsule condenser to see how that works. Or maybe I just didn't have them placed well?

I'll try to take some pictures.


----------



## JohnG (Jul 30, 2017)

My engineer used ribbon mics on a semi-period movie set in the 1920s called "Alleged," and it definitely evoked a different sound. We also used some vintage instruments that contributed to the vibe.


----------



## higgs (Jul 30, 2017)

I had an AEA84 and it was great on female vocals. I was also told that it really 'shines' for overheads on a kit, but I never tried that out personally. I like the AEA stereo ribbon quite a bit, it's on my next-to-buy list. I ran that with a UA-6176 and UA-610 which provided plenty of gain. Combine that with Softube's Abbey Road Brilliance Pack and have a ball.

Now I've got a matched set of Coles 4038 ribbons which are pretty sexy through the Thermionic Rooster but pretty much every dial on the box has to be set at eleven. I quite like that though. The 4038's relentlessly beg for some "Brilliance," and gain.

So now I'm running the 4038s into a pair of Portico 5015's (72dB gain) - I love the little "silky" button that get's you some classic Neve loving. Both Great River mp1nv and mp2nv (70dB gain) are pretty great as well. Both of these are "reasonably" priced imho.


----------



## Gerhard Westphalen (Jul 30, 2017)

I have the cheapest ones from Thomann and they're OK. I wouldn't use them as the main mics on anything. The Fathead are probably a lot better.

There are some Chinese ACM 900 (I think that's right...) tube ribbons that sound great. Unfortunately they're impossible to find but were very affordable when they were released. I've used those on all sorts of things like as room mics and they seem to work well on everything. I've only used those on some custom preamps (which I believe were stolen off of an old console and redesigned). 

One thing I've never understood is putting phantom through one. I know some nowadays say that it's fine but I've heard that it's actually fine for any ribbon mic. The damage is only if it's improperly wired or it the cable is plugged/unplugged with phantom on where one pin makes contact before another but it seems that that can damage condensers as well. Anyone know if this is true?


----------



## higgs (Jul 30, 2017)

Gerhard Westphalen said:


> The damage is only if it's improperly wired or it the cable is plugged/unplugged with phantom on where one pin makes contact before another but it seems that that can damage condensers as well. Anyone know if this is true?


I was told by an engineer friend that the big issue is using phantom power from the desk, in addition to faulty wiring. I'll be straight here... I accidentally left phantom power on twice with that AEA R84 and nothing bad happened, aside from me hitting myself on the head after panic. I don't sweat it too much these days.


----------



## Gerhard Westphalen (Jul 30, 2017)

higgs said:


> I was told by an engineer friend that the big issue is using phantom power from the desk, in addition to faulty wiring. I'll be straight here... I accidentally left phantom power on twice with that AEA R84 and nothing bad happened, aside from me hitting myself on the head after panic. I don't sweat it too much these days.



From what I've heard, as long as it's only turned on when it's plugged in, it's fine with any ribbon but this isn't something I want to test with my ribbons... 

The only horror stories I've heard are from people using the 130v phantom power on the Millennia preamps for DPA mics and burning up condensers.


----------



## Scoremixer (Jul 31, 2017)

Gerhard Westphalen said:


> From what I've heard, as long as it's only turned on when it's plugged in, it's fine with any ribbon but this isn't something I want to test with my ribbons...
> 
> The only horror stories I've heard are from people using the 130v phantom power on the Millennia preamps for DPA mics and burning up condensers.



I must have hotplugged ribbon mics (old & new) thousands of times over the years with 48v enabled over xlr mic patchbays, and never had an issue. It's something I'd be cautious about doing if 48v is going down a bantam or old GPO connector patchbay, as one leg of the connection makes contact fractionally before the other and can put a voltage across the ribbon element. However, that's not an issue with XLR connectors, so if you're going direct from mic to preamp you shouldn't run into any issues.


----------



## mc_deli (Jul 31, 2017)

Royer 121 pair and Thomann RB 500 pair here. The Royer is my fave mic. It is just so gorgeous. The cheap Thomann mics always end up as a second drum room stereo pair. Royer on guitar amps though the 121/57 combo is often beaten by a single SM7b in shoot outs for modern stuff around here.


----------



## Emmanuel Rousseau (Jul 31, 2017)

Had a Royer R121 but sold it a couple of years ago : I really didn't fall in love with the mic. There is something in them I don't like.

This year, I hope to buy a AEA mic (loved what I've heard from mics like the R92 or the N22 at friends studios) or a Samar Audio (they sound absolutely magnifiscent).

I'm using a Shadow Hills preamp.


----------



## Emmanuel Rousseau (Jul 31, 2017)

Oh, and this is worth mentioning


----------



## Hannes_F (Aug 1, 2017)

The good thing about ribbons is that they (most of them) have a figure 8 pattern (well, it's only good if you want that). I regularly use a Beyerdynamic M130 as a side mic (M/S technique).


----------



## pmountford (Aug 1, 2017)

I have an SE Voodoo VR1 which was certainly a big improvement over one of the cheeper chinese branded ribbons I had before (which lost so much high end it just sounded muffled to my ears for recording strings atleast). So I am always interested to hear what ribbons are used on solo cello and violins and your success. To pick just one - Aea r84, royer r121 or coles 4038? Or at that level is their not that much to differentiate? Any thoughts on Beyer m160 for strings?


----------



## dgburns (Aug 1, 2017)

pmountford said:


> I have an SE Voodoo VR1 which was certainly a big improvement over one of the cheeper chinese branded ribbons I had before (which lost so much high end it just sounded muffled to my ears for recording strings atleast). So I am always interested to hear what ribbons are used on solo cello and violins and your success. To pick just one - Aea r84, royer r121 or coles 4038? Or at that level is their not that much to differentiate? Any thoughts on Beyer m160 for strings?



Aea r84 is soft sounding, not much gain and not too exciting. But on the right subject, it's gold. It's the right mic on stuff that is thin but you want to sound fat. It's a fair bit fatter sounding then the royer. The thing about ribbons in general is that they are very forgiving to off axis response, especially phase response. I find alot of the times I walk around the mic and find that place where the sound is exactly what I want. I generally don't do this with condensers, with large diapragm condensors, you're better to point right into it.
I've gotten some good results while pointing the ribbons in some otherwise odd places, like facing the back of a violin instead of the front, or pointing to the side of a cello instead of just above the bridge like you usually see. With guitar amps, I tend to place the ribbon a foot back or so, never right up to the grill. The figure 8 pattern always gives a roomier sound, but you can use this to your advantage.
Where I won't use a ribbon is when I want that fast clear sound like you get from small diaphragm condensers, like when wanting a sound to be quick but not take up too much of the sound spectrum, like background vocals or light strummed accoustic guitars when there's plenty of other sound going on (like heavy guitars) . Using your mic's to get a specific result is as important as anything else. That's why having a bunch of them is usefull. Just switching out mic's gives you more colours right out of the gate, so it's easier to mix the music later on. Shooting everything with the same mic will give you lot's of the same colour, which isn't always the best thing for the music.


----------



## bill5 (Jul 29, 2020)

bump  What are people using/hearing that they like lately? I'm esp interested in any less expensive ones that a mortal like me could afford.


----------



## Anders Wall (Jul 29, 2020)

bill5 said:


> bump  What are people using/hearing that they like lately? I'm esp interested in any less expensive ones that a mortal like me could afford.


For less expensive I use these:





The Beeb – Xaudia







xaudia.com










Bumblebee Pro – DIY Ribbon Mic Kits by Artur Fisher







www.bumblebeepro.com




(The mic booster is a great add on)

I also have modded oktava (52’s I think) that features a ribbon from xaudia and a lundahl transformer.

Best,
/Anders


----------



## wst3 (Jul 30, 2020)

Inexpensive ribbon assemblies make me nervous, expensive ribbon microphones are out of my reach, and since you did not mention an actual budget range so all I can do is odder suggestions.

First, what kind of "ribbon sound" are you looking for? There is the classic American sound which we associate with the 44 and maybe 77 microphones from RCA, and there is the darker British sound which is exemplified by the Coles 4038. Then there are those upstarts at Royer and Tripp&Crowley<G>.

I have and use the following, none of which I would classify as "budget" but I do think they represent excellent investments, and are priced fairly, at price points well below the "standard" fare.

Royer 101 - I wanted that Royer sound and ruggedness, could not afford the R-121. The R-101 has since been replaced by the R-10 at an even more attractive price. The perfect microphone for amplifiers and percussion and horns! I've also used it on a mandolin with excellent results. I have a pair of them, and they get used a lot.

Royer SF-12 - I used to use the Speiden stereo microphone at a long-ago employer. When Royer introduced their version I just had to get one. Funny tale... when I was about to get married my wife asked me if I was going to record the ceremony - proof I was about to marry well! I said yes, and used that as my rational to purchase the SF-12. The recording turned out well. I've used it since, but it is a bit of a one trick pony. Most recent was a small children's choir (the choir was small, I suppose so too were the children.) Sounded beautiful!

Shure (formerly Tripp&Crowley) KSM-313 - this is the other modern take on ribbon sound, it is slightly more detailed than the R-101, and works really well on acoustic stringed instruments.

AEA R-92 - it was difficult to choose between the R-84 and the R-92 but since I like to place these close to amplifiers I ended up with the R-92. It sounds an awful lot like I remember the RCA microphones, but who knows if my memory can be trusted?

Fostex M88RP - this one is an oddball, and it was my first ribbon microphone, I received it as partial payment for some work I did. It uses a printed ribbon, so it is inherently more robust. It sounds cool, and if I had to categorize it I suppose I would say it sounds like a ribbon microphone, but really, it is different!

I am sorely tempted to build one of the Bumblebee microphones, mostly out of curiousity, but from what I've heard they sound a lot like the R-101, which is good for you, but makes it a little bit redundant for me.


----------

