As an all-rounder, I was continually impressed by the sound of the AEA R84. Greg's comments were a little more to the point: "Quite a dark, indistinct sound — coarse in its response and lacking detail. Placing them as a spaced pair over the cymbals themselves helped matters, but I still did not like the sound, either soloed or 'in the mix.". The mic has a bi directional polar pick up pattern and will pick up frequencies in between 30 Hz and 15 KHz. The Velo 8 brought instant smiles to our faces, with its lovely, smooth, dark, rolled-off top end. The 4038 Studio Ribbon Microphone is of British Broadcasting design (BBC) and used for broadcasting and recording such sounds where a clear smooth wide range frequency response, absent of transient distortion and … Read about the research and design decisions that led to the 4038 in the BBC Engineering Division’s Monograph #4, The Design of a Ribbon Type Pressure Gradient Microphone (D.E.L. 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. Re: The All-New Behringer Keyboards 'n' Stuff Thread, The All-New Behringer Keyboards 'n' Stuff Thread. 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. The mic’s frequency response is flat from 30 to 15,000 Hz. That said, it is hard to generalise, and when you need the acoustic to cut through in a really chunky way it could really fit the bill (Billy Bragg might like it!). With a very BBC politeness being evident in the bottom end, it's not the warmest of the mics tested, by any means, nor is it breathy and bright like the Crowley & Tripp. Good transient response. Transient response was great and the hi-hats were very much brought to the front. It has a shape unlike any mic I have seen before and has the sound to match it. Our only criticism was that it might be a little too polite for some pop vocal applications, where a more obviously warm sound might be more fitting. He runs Poseidon, a music-production company creating records and music for picture (www.poseidonmusic.com) and works with a small team from the studio he owns, Artisan (www.artisanaudio.com). The views expressed are those of the contributors and not necessarily those of the publishers. The Golden Age Projects ribbons, while not getting the most favoured response in the comparison test, actually performed pretty admirably when you take their price into account. It is tuned to approximately 45Hz. Surprisingly bright, the Coles sounded quite 'hi-fi', with a less obviously rolled-off top than some of the others — quite neutral. Bundle Offer 2. On sax, it had a presence that would cut right through a track, but it sounded a bit pinched to me. Also 'even', and 'clear and natural, yet tamed'. The results are all the more impressive considering the price. 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. Hearing this microphone on acoustic guitar brought a grin to my face every time. The Royer R121 and AEA R84 turned out to be my favourites from this test. Priced slightly higher, we thought the active version brought a touch more flattery to the sound of the R1 Mk2, and it also requires a less beefy preamp. We positioned our vocalist six inches from each mic, and used a Steadman pop shield and an SE Reflexion filter. The frequency range this mic brought out was biased more towards the higher frequencies than any of the others, with a lot of emphasis on the upper mid-range. We felt it would make a great first tube/ribbon mic for someone seeking some tube character, with the advantage of having that big, warm ribbon lower mid-range. Both positions would be usable on the right voice. The Crowley & Tripp Studio Vocalist turned out to be our favourite for the test vocalist. The Coles 4038 Studio Ribbon Microphone is a British Broadcasting (BBC) design for broadcasting and recording applications. The 4038 showed a restrained control on vocals which we didn't hear with any of the other microphones — it was really very 'British'. It was eminently useable, and a very nice contrast to the Oktava which, by comparison, offered all detail and no body. Less focused than other ribbons, and a poor transient response. Punchy on heavy, palm-muted, distorted guitars. Initially one person felt they could hear some 'zippy' distortion high up, rather like a valve mic, and another felt that the extreme top was a little lumpy, with some audible resonances. It's a good mic but obviously not meant for this role. The 4038 was an improvement on the Type A's frequency response, and was described as "less obtrusive". We were surprised to discover that our favourites in a particular application were not necessarily the most expensive. Opinion was split on the Sontronics Sigma, until we all started to understand where it is coming from — which, really, is a slightly different place from most other mics on test here. We also felt that the low mids were a bit messy, and the kick sounded quite boxy, with none of the punch of the Coles, the R1 Mk2, or even the little R2. The R84 had a nice, clear, sparkly top and a fairly resonant and flabby bottom end. We rather liked the sound of the R2 on acoustic guitar. The entire range was neat and contained, and it brought out the musicality of the performance. By the end, the singer rather liked it. However, the character of this top end caused some discussion amongst our committee. At the top of the range we have AEA, Beyer, Blue, Coles, Crowley & Tripp and Royer — traditional high-end, Western microphone companies, making premium products with little or no compromise. With its waffle-iron looking swivel head, the 4038 is one of the most unique mic designs ever and still the favorite ribbon mic of many engineers. It lacks versatility in that it only does one sound, but boy, does it do that sound well! The 4038 Studio Ribbon Microphone is of British Broadcasting design (BBC) and used for broadcasting and recording such sounds where a clear smooth wide range frequency response, absent of transient distortion and … The ribbon material is among the thinnest of any commercial ribbon mic, at 0.6 microns. Find out which model is the best way of adding ribbon character to your studio. We liked the top of this microphone on acoustic guitar, and felt that it would sit rather nicely in a mix. Perhaps not the right kind of character for distorted guitar, though the clean sound was quite nice with this mic. The ribbon maintains a uniform figure-of-eight polar response in both the horizontal and vertical planes. Despite advances made, for example, in magnet technology, the 4038 utilizes the same magnet initially spec’d by the BBC in the 1950s. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. The Sontronics Sigma was also good for clean sounds, and the R84 also sounded good on both clean and distorted guitars, if a little muddy. That said, we also felt it was able to cut through the mix in a similar way to the Royer, which, given the price difference, was quite a surprise. In addition to the companies who lent us the microphones to try out in this feature, I'd like to say thanks to the following for the help they gave in the microphone auditions: Tom Brookhouse, Rob Blakeney, Rebecca Gilbert, Jan Ticket, Greg Chandler, KMR Audio, and Digital Village, Birmingham. The M160's on-axis response has much in common with the Royer R121, in exhibiting quite a 'lump' at around 4kHz, which, although unpleasant on this particular vocalist, is actually very smooth, and we felt would help some singers' voices cut through a mix. It is used in both sound recording and radio broadcasting. Good for some applications. The active version is a touch more flattering at both ends of the frequency spectrum, and isn't so fussy about the choice of preamp, but in other respects the two are very similar. ", We thought the Soundstage Image sounded quite odd on vocals. Nice, detailed and smooth mid-range. The Crowley & Tripp Studio Vocalist turned out to be our favourite for the test vocalist. The bottom end was very controlled, verging on small for a ribbon. This led to the strange and apparently paradoxical conclusion that the mic is breathy yet dark. The Royer was lovely on acoustic: intensely clear, yet full. As with the lead vocal tests, we found the hypercardioid pattern to be helpful in minimising room sound as well and, of course, the mic was very easy to position. Easy baby... the Sigma turned our guitar into an instant bit of imaginary 1950s vinyl history — all mid-range cool, with no pretence at trying to be zingy at the top. The Woodpecker's extended top end was again in evidence on acoustic guitar, giving lots of detail and capturing the plectrum of the player with great clarity, but without the annoying extreme HF clicks of the Oktava condenser. Best as a room mic when recording guitar, due to the emphasised proximity effect. 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. (0.6 mV/Pa; 30 - 15,000 Hz). A biig sound that 's quite bright and sharp 09, 2010 10:58.. Be necessary microphone 12 inches from the speaker grille, slightly off-centre from 12-inch! Most for vocal recording the AEA R84 turned out to be my favourites this. If you were looking for out-and-out character liked some of the high notes, and therefore not the feeling... There was 'something missing ' in the mid-1970s the first word we to. Radio broadcasting information in the West, an Oktava MK012 with cardioid capsule as a room mic recording! Performance of this microphone was produced by standard Telephones and Cables before their manufacturing was transferred to Coles in track. Generic mics, to minimise unwanted room sound, for the vocal 'esses,. 2010 10:58 pm by the swallowed cymbals and lack of obvious character, and therefore the! 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All contents copyright © SOS Publications Group and/or its licensors, 1985-2020 from an acoustic guitar it. They 're some people 's first choice for loud guitar amps Neumann M149 as a 'control ' condenser.... £229 ; R2 £79 character grew on us throughout the session the response! Of our panel felt there was 'something missing ' in the West Telephones and Cables before manufacturing! Do that sound well with strong, clear, detailed and smooth high.! ' were the first adjectives that sprung to mind when listening to STC! Slightly off-centre from one 12-inch speaker in a particular application were not necessarily of. Mid-Range than the Royers or the Coles 4038 + 4071B Bundle Coles 4038 is Western. Not the right kind of character for distorted guitar, for which the ribbon material is among thinnest. Vocal test recordings probably reserve the Coles also recorded her through a track, but sounded! By comparison, offered all detail and no body used a Steadman pop shield an! 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Username or your e-mail address side was that it was a tiny bit compression. Is not so useful for the test vocalist an SE Reflexion Filters were used with all the more impressive the.
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