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Post by ulriggribbons on Nov 13, 2020 20:47:01 GMT -6
Coles has got to be one of those mics that no one could argue with, dream gear. I've had converstations with people who consider them too dark. The low end can be overpowering on some sources( or source/spaces). They aren't for everything/one, but they are a great sound to me. They are also one of the most consistently manufactured microphones I've ever seen. You can find slight paint differences over the years, but the core parts are always consistent. Put a new ribbon in a really old one, and it sounds like a new one. If you can't tell, I'm a fan....  Regards Jon |
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Post by Mister Chase on Nov 13, 2020 21:09:19 GMT -6
Coles has got to be one of those mics that no one could argue with, dream gear. I've had converstations with people who consider them too dark. The low end can be overpowering on some sources( or source/spaces). They aren't for everything/one, but they are a great sound to me. They are also one of the most consistently manufactured microphones I've ever seen. You can find slight paint differences over the years, but the core parts are always consistent. Put a new ribbon in a really old one, and it sounds like a new one. If you can't tell, I'm a fan.... Regards Jon I can see how some would think they are too dark. Everyone has their own tastes. It also depends on the signal chain. I'm going into preamps without a channel strip into a Lynx Aurora (n) much of the time and that is so clean (especially with a Hardy) that it can be bright with condensers. I imagine if I were going through an old Neve console every day and maybe to tape I may feel a bit differently. Hard to say. Of course, the type of material I tend to use them on is open and spacious where I can let sounds big a little bigger, generally. In a dense rock mix, I might be carving up something I recorded with them more than I want to.
I'll say though, when that sound comes through the speakers, it is totally impressive.
I honestly bought it just for drums and it was worth it for that alone. However, I have found it sounds wonderful on many sources.
Like em or not, I would say that nothing else sounds like them... |
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Post by rowmat on Nov 14, 2020 10:34:30 GMT -6
I don't regard them as too dark. They're almost dead flat to 15khz which is actually more extended than many LDC's which are often falling off by 12khz.
IMO the "too dark" references are due to...
1. They have no 7khz-10khz bump as do many condensers 2. Proximity effect can indeed dominate if you don't watch the placement.
A Pultec style EQ can really make them shine by controlling the low end adding some 16khz sheen which they respond to beautifully without getting harsh and the super lightweight 0.6 micron ribbon will then reveal delicate high frequencies like no other.
Avoiding thick, slow preamps in favor of something clean with plenty of gain is recommended.
ie Hardy, Jensen Twin Servo, AEA TRP or RPQ, Millennia, Gordon etc.
A Coles 4038 with plenty of clean gain into a Pultec and an EMT140 is a match made in heaven.
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Post by Mister Chase on Nov 14, 2020 11:07:32 GMT -6
I don't regard them as too dark. They're almost dead flat to 15khz which is actually more extended than many LDC's which are often falling off by 12khz.
IMO the "too dark" references are due to...
1. They have no 7khz-10khz bump as do many condensers 2. Proximity effect can indeed dominate if you don't watch the placement.
A Pultec style EQ can really make them shine by controlling the low end adding some 16khz sheen which they respond to beautifully without getting harsh and the super lightweight 0.6 micron ribbon will then reveal delicate high frequencies like no other.
Avoiding thick, slow preamps in favor of something clean with plenty of gain is recommended.
ie Hardy, Jensen Twin Servo, AEA TRP or RPQ, Millennia, Gordon etc.
A Coles 4038 with plenty of clean gain into a Pultec and an EMT140 is a match made in heaven.
I think you are right. You know, I've been continuing on this Ukulele Holiday kick and have about 6 songs now. All with the Coles and Hardy. I'm keeping my poor sounding room out of the equation as much as possible by being close to the mic, which does present a bit of a proximity issue but not too badly on the Uke. I just pull out some 300hz.
The highs though... they really surprise me. I mean, they are all there. Way up high, too. There is enough information up at 20khz that I actually have low passed most of the tracks! I come back on the mix bus and pultec the whole mix with a little 10k and sometimes a little 20k cut. It's really quite nice. But yes, the highs are all there. The Hardy allows that mic to really shine, especially on acoustic sources.
All frequency speak aside, there is just something about this mic that sounds so good that I have a hard time describing. Can't wait for another.
I would be curious to try an AEA RPQ on this and other ribbons for it's impedance...
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Post by EmRR on Nov 14, 2020 12:14:50 GMT -6
Coles has got to be one of those mics that no one could argue with, dream gear. I've had converstations with people who consider them too dark. Yeah, I know people who didn’t get on with them and sold them, almost always drummers. Sometimes the same guys who dime the treble on overheads. |
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Post by Mister Chase on Nov 14, 2020 12:20:54 GMT -6
I've had converstations with people who consider them too dark. Yeah, I know people who didn’t get on with them and sold them, almost always drummers. Sometimes the same guys who dime the treble on overheads. ...and we try not to associate with those people. |
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Post by rowmat on Nov 17, 2020 14:44:50 GMT -6
A past Mid-Side recording with a pair of 4038's on a DIY stereo bar.
Heavy and cumbersome and you don't want the sucker to topple over and hit you on the head because you will die or at the very least end up with a Cole's induced lobotomy.
Hence the lighting C-Stand and the 'D' Shackles for additional counter weighting.
I have since ordered a genuine Coles stereo bar which I doubt will arrive until sometime in 2021.
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