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Post by gosart on Mar 31, 2023 22:54:14 GMT -6
I've used my Samar VL37s, VL373a and AL95s on many recordings in New York City without experiencing rf issues. They all sound very natural and musical on strings. The one time I had rf problems with a Samar was with the 373a at a remote recording in Connecticut that was literally right next door to a radio station. Several of my non-ribbon mics had rf problems there too.
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Post by mcirish on Apr 1, 2023 6:24:59 GMT -6
Thank you for all the reassuring words about the Samar ribbons. The AL95 is very tempting as I can get a stereo pair for less that the VL37. Tonality, how do they compare?
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Post by gwlee7 on Apr 1, 2023 6:52:05 GMT -6
Another possible stereo pair option could be the sE Electronics VR1 “Voodoo”. I have a pair and really like them. I haven’t recorded and fiddle with them though. Another ribbon not already mentioned that I have is a Shure KSM313. It’s just a smidge over budget but with a “dark” side and a “bright” side, I honestly believe I can record any source with it. It is basically the old Crowley & Tripp ribbon.
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Post by jeremygillespie on Apr 1, 2023 8:59:21 GMT -6
I’ve always gone with a coles and really enjoy that sound.
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Post by EmRR on Apr 1, 2023 9:47:08 GMT -6
I would say I've used various Samar on fiddle the most over time, but also M160, M130, Shure 300, RCA BK-11A. Samar for the most open natural top end. I haven't heard a ribbon be anywhere close to screechy on anything unless it's got a presence peak like RCA 77 in a directional setting or KU-3A. The U-87's / SM-57's of ribbons, those, but still not spikey. The M160 always sounds like a smooth broad presence enhancement, but never anything but smooth. The BK-11A has a more muted top past a certain point, great for bringing out mid clarity if you want it enhanced. The Shure 300 is the only one that's definitely dark, heavily rolled off up top, so great for a part than needs to sit back in the mix naturally.
The custom Samar I have from before the official product line maybe cost $350 ea a dozen years back, and they aren't lesser than the $1800 MF-65's, sometimes I prefer them. The VL37's are essentially less expensive mechanical constructions of MF-65's. Haven't heard the AL95's but again that's mostly a cheaper body construction as the real cost difference. The 'moment of purchase' reality with Samar has always been what was just made, what is in stock. If you want something he makes but it has to be made, you might wait a very long time to get it.
And - they are really remedies for players with poor or aggressive techniques. I've recorded some excellent fiddlers who sounded smooth as butter on pretty bright condensers.
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Post by theboris on Apr 1, 2023 10:22:29 GMT -6
The 'moment of purchase' reality with Samar has always been what was just made, what is in stock. If you want something he makes but it has to be made, you might wait a very long time to get it. I experienced some delays (well after the check was cashed) ordering some capsules from him, though I'd have to check emails if that was just my expectation of 6-8 weeks, any explicit timeline he provided. But what's been most disappointing is trying to get a replacement foam for upper lid of two AL95 cases. It's been over 8 months now IIRC, lots of unfulfilled dates come and go, and usually with, "all our stock is now gone in current run, sorry, please remind me in X weeks." So the burden is on you (er, not YOU EmRR;) to continually follow up with him. Never once a "all our stock is now gone in current run, sorry, but I've made a note for the next order to ensure we have these pieces available for you. Rough ETA XX... Thanks for your past purchases!" To be clear, I'm not saying he should be so lucky as to receive past or future orders from me, just describing the experiences I've had that very much support Doug's experience.
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Post by mcirish on Apr 3, 2023 13:52:42 GMT -6
Thanks for all the input. Many great choices. I had already decided I wanted a long ribbon mic. They have more of the sound I'm looking for, typically. So, I got my choices down to the Samar VL37A, AL95 or the AEA R84A. A Coles was also a possibility, but in some comparisons I heard, the Coles sounded a bit more covered. I'm sure for drums or room mics it would be great, but that's not my focus. I also wanted to go with active as it provides options on preamps, though I don't have any lack of options there. :-) With longer cable runs, an active ribbon might be a bit quieter too.
Unfortunately, I was unable to find the Samar VL37A new in stock so I went with the AEA R84A. I know the VL37A would have been more versatile, but that makes little difference if you can't buy it. I did send them an email but I'm fairly impatient and I didn't hear back. I heard some clips of the R84 on violin and it sounded very good. I hope to use it in a session this week and I will report back.
Heck... I can always buy another ribbon mic if this doesn't do what I want... (famous last words before I have to start living in my shed)
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Post by mcirish on Sept 22, 2023 16:17:50 GMT -6
Just a quick update on this. Surprisingly, I hadn't had a violin player in the studio in months so the R84A has sat unused except on upright bass and as a room mic on a kit. Lots of cello and guitars but no violin. Finally got a change to try the R84A on violin. I had always loved the way the Beyerdynamic MC930 sounded, except it picked up too much bow scrape and I would have to use dynamic EQ or deessers to tame it. Probably not so surprising, the R84A sounds perfect. I honestly don't think I have to do anything to the track. I recorded it through a Daking preamp and it sits in the mix without any nasty bow scrape to tame. makes me feel the investment was well worth it, if only for violin.
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Post by reddirt on Sept 24, 2023 1:08:34 GMT -6
Dont you love that McIrish - no harsh edge just warm , full, easy to listen to natural fiddle. My go to was my Michael Joly modded Apex 205 till the ribbon died. Cheers, Ross
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