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Post by terryrocks on Mar 16, 2017 11:34:01 GMT -6
I have a pair of fathead2 with xfrmr upgrade and a BIV2 stereo ribbon.
Wondering how others use their ribbon mics.
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Post by Deleted on Mar 16, 2017 11:39:28 GMT -6
hopefully if i can suss it out m/s acoustic gtr. Also will be doing all future vox with one of mine as I'm a sibilant sob.
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Post by kevinnyc on Mar 16, 2017 12:11:34 GMT -6
Guitar amps, horns and sometimes OH's with an hi-shelf lift during tracking...
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Post by c0rtland on Mar 16, 2017 12:35:23 GMT -6
Drums, even close mic'd on occasion. Electric and acoustic guitar. Brass. Vocals. Rooms. Pretty much everything but electric bass. Maybe I should try that...
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Post by EmRR on Mar 16, 2017 12:59:34 GMT -6
I've had good results with some electric bass too. They can work on anything. They'll usually let you know right away if they aren't a good choice. Sometimes things they are normally good on don't work, situation specific, as with anything.
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Post by Ward on Mar 16, 2017 13:09:33 GMT -6
Royer R121 and Samar VL37 for electric guitar speaker cabinets
RCA 44 for dobro, soft jazz vocals, upright bass
R121 for Trombone sometimes
Fostex M88 for two vocalists on either side singing a unison part. Exquisite microphone for just this alone. I bought one new. Everyone should have one. Good luck finding one.
Samar for gritty vocals, also great for banjo and mandolin
There's 5 or so favorite applications.
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Post by EmRR on Mar 16, 2017 13:14:19 GMT -6
I had a super sibilant singer last week, sibilant on a Max U67 and Samar MF65. Had to go to the Samar ribboned Lundahl Fathead. Almost took it down to a Shure 300 (darkest of the dark).
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Post by Vincent R. on Mar 16, 2017 13:31:12 GMT -6
I've used a Royer 121 and a Blue Woodpecker on trumpets. I own an Altec 639a, which I've heard is great on upright bass, but haven't had the pleasure to try it yet. The Altec 639 was a popular vocal mic back in the 30s and 40s. Mario Lanza used it on all his films including "The Great Caruso." Judy Garland also recorded "Over the Rainbow" with one. I picked it up more for nostalgia of Mario Lanza's recordings.
Jeremy Gerard at GURARI Studios at the NY Opera Center, who engineered my first album, he told me he used to use a Blue Woodpecker on particularly harsh Soprano voices. He uses a Royer SF2 in conjunction with a U87AI on vocals, blending to taste. He has a couple of SF12s for room mics. Then again, he has an incredible room.
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Post by schmalzy on Mar 16, 2017 13:33:31 GMT -6
I have some Cascade Fatheads (no transformer upgrade) and a re-ribboned Apex 205.
Drums: overheads or rooms but most of the time not both. Sometimes a little top end boost when used as overheads. Using one as a near room/kick mic (with a pop filter) did some really awesome stuff on a rootsy sounding track.
Guitar amps: alone on bright amps or in combination with something else (like an SM7B, a 57, or a Heil PR40) if the amp tone is balanced well.
Acoustic guitar: Fatheads are great for that folk non-bright acoustic guitar.
Banjo, mandolin, tambourine and claps. I dig the figure-8 for the extra ambience (because those things don't sound right to me without the room) plus the top end is softened so I don't have to EQ it out like I probably would be doing to fit it into the mix anyway.
Vocals: The Apex 205 is my "instantly blended into the background" vocal mic (two windscreen/pop filters!!!).
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Post by Tbone81 on Mar 16, 2017 14:54:37 GMT -6
I have a pair of fatheads too, normal version. I sometimes use them as OH's but mostly as room mics, in blumlein, about 2-3 ft in front of the kit. Gives a real nice grainey sound and sounds great mixed with OH's and far room mics.
Also, I really like them on vocals, but depends on style of the songs/singer.
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Post by c0rtland on Mar 16, 2017 15:38:54 GMT -6
Royer R121 and Samar VL37 for electric guitar speaker cabinets RCA 44 for dobro, soft jazz vocals, upright bass R121 for Trombone sometimes Fostex M88 for two vocalists on either side singing a unison part. Exquisite microphone for just this alone. I bought one new. Everyone should have one. Good luck finding one. Samar for gritty vocals, also great for banjo and mandolin There's 5 or so favorite applications. What did those m88's cost off the shelf? ...if you don't mind me asking.... |
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Post by stormymondays on Mar 16, 2017 17:12:59 GMT -6
Guitar amp. Side mic for M-S Leslie cabinet and M-S drum room. Sax, flute, violin. Vintage-y vocals and acoustic guitar. Mandolin.
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Post by Johnkenn on Mar 16, 2017 18:53:46 GMT -6
Bing Crosbys
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Post by jeremygillespie on Mar 16, 2017 20:46:09 GMT -6
Fat heads with Luhnd tranny's in front of the kit and smashed up real good.
Depending on the production of the song I'll do coles 4038 as OH
Sometimes M160 on toms
Rca77 on brass
Rca44 as mono drum room
122 on gtr cabs
122's in Blum for perc is amazing
44 can sound killer for vocals with the right singer
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Post by jampa on Mar 16, 2017 21:37:54 GMT -6
I will rephrase the question.
What isn't my favourite application for ribbon mics?
Very quiet sources, boomy sources, blasts of air. I'm sure there are more.
OP, how are you finding the BIV2 stereo? I am enjoying the BIV1 mono.
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Post by Ward on Mar 16, 2017 22:01:47 GMT -6
Royer R121 and Samar VL37 for electric guitar speaker cabinets RCA 44 for dobro, soft jazz vocals, upright bass R121 for Trombone sometimes Fostex M88 for two vocalists on either side singing a unison part. Exquisite microphone for just this alone. I bought one new. Everyone should have one. Good luck finding one. Samar for gritty vocals, also great for banjo and mandolin There's 5 or so favorite applications. What did those m88's cost off the shelf? ...if you don't mind me asking.... Going on a fair bit of memory here now... I believe they listed for $580 and street price was a $499 and I think that's what I paid for mine in 1992. By 1994, they were really unpopular and could be had for as little as $100. Lately, the cheapest I've seen one sell for is about $999. |
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Post by johneppstein on Mar 16, 2017 23:40:28 GMT -6
Almost took it down to a Shure 300 (darkest of the dark). I've got one of those. Did the vocals on maybe half (give or take) of the first album on it, before I got a condenser I liked. Also got a pair of 330s, but the tones don't match, so one or both needs a new ribbon. Got a 74 recently re-ribboned by Wes Dooley... That's pretty dark! |
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Post by reddirt on Mar 17, 2017 0:57:28 GMT -6
Clean electric leads sound fantastic on my Modded Apex 205 . Maybe Uncle Bill could chime in on his use on piano ( very cool)
Cheers, Ross
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Post by jcoutu1 on Mar 17, 2017 2:29:48 GMT -6
Almost took it down to a Shure 300 (darkest of the dark). I've got one of those. Did the vocals on maybe half (give or take) of the first album on it, before I got a condenser I liked. Also got a pair of 330s, but the tones don't match, so one or both needs a new ribbon. Got a 74 recently re-ribboned by Wes Dooley... That's pretty dark! Which album is that? |
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Post by hadaja on Mar 17, 2017 4:55:59 GMT -6
Just getting my RCA kc2b back from U.K. So looking forward to putting that through some paces.
Stewart just fixed my Reslo RB so also looking forward to trying that. Love my Shure 300 and hopefully next week i will have my new 44a clone in my hot hands.
Ribbons need a resonably good room to shine.
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Post by Deleted on Mar 26, 2017 9:45:25 GMT -6
Just had a chance last night to use an N8 as the side mic in an M/S setup (KM-140 as the 'mid'). It's a gallery I'd recorded in before (string quartet) and I was not at all happy with what I got from an LCR setup. The room was too live and had too much bite. I thought that M/S would give me a chance to remove room if I needed to. I also thought that the built-in rolloff of the N8 (somewhere around 4K) would help tame the harshness. Not all ribbons are symmetric on both sides, but the N8 is, so it's a good candidate for M/S. Worked like a charm. The inherent warmth of the ribbon blended beautifully with the detail of the Neumann. It's a combination I'd never used before, but I certainly will again.
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Post by svart on Mar 26, 2017 10:53:19 GMT -6
Guitar cab and drum room.
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Post by jazznoise on Mar 27, 2017 4:17:09 GMT -6
Drum overheads, vocals, violin, guitar (acoustic and electric), trumpet and rooms. Particularly overheads though, I used to be strict blumlein but I've decided in the room I'm working AB spaced pairing works better because I can get more width, and also the vaulted ceilings add some nice early reflections.
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Post by Guitar on Mar 27, 2017 13:57:12 GMT -6
Started with the obvious, to me, cheap ribbon mics on guitar amps, especially the distortion tones.
Then re-ribboned some Apex 205. Acoustic guitar, distant electric guitar, hand percussion. Wishing I had an acoustic piano.
MXL R80 on bass drum, far enough back not to overload, about 8 inches. This is the newest thing I'm doing and it sounds pretty good.
MXL R40 in Blumlein in front of the drum kit, no room mics. These get enough of that, plus enough direct sound. The room is very live so they need to be closer in.
If the mic is good enough, I think it can be used on quite a variety of things. Not so much with the "quirkier" mics.
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Post by swurveman on Mar 27, 2017 14:23:46 GMT -6
Guitar Cab, Overheads.
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