All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. "Seriously cool vintage vibes" was the verdict — like a less extreme version of the Sigma, and incredibly smooth in the treble roll-off. Even some of the mics we weren't so crazy about in general (such as the GA R2) we could imagine finding a use for on a record, and they would certainly represent a very useful introduction to the ribbon sound for those working with small budgets. The results from our small listening panel were as follows, in order of preference (bear in mind that to some extent this was swayed by the voice we were recording — another singer might have brought about different favourites). All three of these are among my favorite mics on guitar amps, horns, and drum room mics. Had the most 'air' of these ribbon mics and was notably the one tuned most for vocal recording. I like the Coles as OH, but if you're recording a whole band in a room, you'll get more bleed (and/or crappy room noise if your room isn't the best) in the Coles which may be a deal breaker. More Gear Reviews. We felt 'esses' were a little subdued, and the mic was generally a little dark, but in general it was nicely charismatic, albeit with a fairly hefty proximity effect: classy, and eminently useful. Beyerdynamic M160 vs. Coles 4038. Mastering Essentials Part 3 - How loud should I master? I would like to use them as drum overheads. Big bottom end, but without being muddy. 34 Ela-M 251 microphone by Kirt Shearer. The R84 had a nice character, but was a touch soft and a bit uncontrolled at the bottom, so it wouldn't be one to use for overheads, but it offers a nice, extra-warm flavour if you don't need detail in great quantities. I've used the 160 a few times, and think it has a bit more detail in the top, though as johnny7 says, the Coles can get some bumpin' bottom end. We found this to be generally very clear and detailed with a surprisingly extended top-end compared with the other ribbons on test. Its only arguable flaws in relation to the Royer were that it wasn't as detailed at the top end, and it gave a slightly smaller, more retro sound, which may prove problematic in the context of a mix — but for exposed parts it sounds very cool. Later, Greg Chandler, over at The Priory Studio, recorded a different female vocalist with the same mics to give us a second opinion, this time at 12 inches from the mics, also using a Steadman pop shield. Sponsored. It's a good mic but obviously not meant for this role. It gave a huge, round sound, adding some real thickness to the bass drum and the overall kit.". by mr scratchy esq » Wed May 31, 2006 1:26 pm, Users browsing this forum: Google [Bot] and 15 guests, Recording Techniques, People Skills, Gear, Recording Spaces, Computers, and DIY. Despite its great showing on the vocal tests, this mic sounded phasey and too coloured on our drum kit, with splashy, sibilant cymbals. A nice, clear snare sound is let down by the swallowed cymbals and lack of obvious character, and the detail is mediocre. As it was so dark, we also felt it shared some of its character with the Sontronics Sigma, and might make a good alternative for those seeking a very dark vintage-sounding ribbon on a very tight budget. The entire range was neat and contained, and it brought out the musicality of the performance. The Royer R121 and AEA R84 turned out to be my favourites from this test. The rear of the mic gave a sound that was more breathy and clear in general, which was not a surprise given the more extended high-frequency response. PreSonus StudioLive 32SC Series III Mixing Console. by Recycled_Brains » Wed May 31, 2006 10:45 am, Post ", "On clean guitar this produced a very nice, balanced sound, with good transient response and clear highs; also clear on distorted guitar. The only down side would be our feeling that the high treble is a little recessed, so for sparkle on cymbals it might be worth supplementing with some condensers at times. Again, the results seem very good for the price. Average Score: 4.5 ( 4.5/5 based on 6 reviews ) 3 reviews: 50 % : 3 reviews: 50 %: Value For Money : 10/02/2012. One Synth Challenge V - The Filter Strikes Back! 10. It was all sassy desert-island midriff, with a little bit of overhang on the bass end, which could easily be tidied up by pulling the mic back. Post by ted dawg » Tue May 30, 2006 3:41 am ... i know only from a musician standpoint as i'm very inexperienced 'engineering,' but I know that I've never lost with an m130, m160, or 4038. We rather liked the sound of the R2 on acoustic guitar. For the purposes of this test, we listened for the part of the room which picked up the most even overall picture of the kit in mono, and positioned our ribbons there. Last month we ran through the background of a number of ribbon mics and their manufacturers, but left you hanging for the test results. It sounded totally different from GA's R2, with a clear, smooth top end, and a lovely warm lower mid-range. Greg gave a second opinion: "I set [the R84] about four feet back from the drum kit and positioned it at the drummer's waist height. Any reason the 4038's would be any better than the M160's other than personal taste? Golden Age Projects R2, We found that the R2 sounded quite muffled but was not particularly charismatic-sounding either. Is there anything about the M160's being a double ribbon mic that wouldn't work very well? The R1 Tube was a little thin compared with the other mics on test here, but it sounded sparkly, with a nice hi-hat sound, and crunched well when used with the compressor. The Coles 4038 also had the potential to be a favourite, and I'd like to have spent longer with it and got to hear it on more sources. It was lovely and balanced and, thanks to the tube, gave a scratchy top ("but in a good way"), that we felt would help the guitar to work really well in the wider context of a mix. by Mix413 » Tue May 30, 2006 6:56 am, Post Compared with the main vocal (tracked with a Brauner Valvet), they were round and smooth, but retained a nice presence on high frequencies, giving clarity and detail without any harshness or sibilance.". As our tests with the three versions of the GA R1 showed, even within one manufacturer the same microphone body can sound fairly different depending on how the mic is modified internally. Using the front side, it almost made the guitar sound like a Fender Strat by pulling up the body so much. We thought it would be more useful as a main overhead in pairs than as a crunch mic, for which role we felt it would capture too much cymbal information. The other mics that took a similar approach were the GA R1 Active Mk2 and the Blue Woodpecker, and each of these would make good choices for those who don't have the budget for expensive mic preamps (though if you're able to save, or spare the cash, I'd still recommend a good preamp as a worthwhile investment). The SE ribbon, I'm afraid I found quite uninteresting — it isn't bad, but then there isn't anything inspiring about it either.
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