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Post by notneeson on Oct 2, 2018 13:28:46 GMT -6
So one place I book in San Francisco has copious Royers and I have come to love the 121 (not to mention 122v) on Kick Out.
At my little shop here in town we have a Royer 101. It does not have the same low low bump in its freq response and I am on the fence about whether I prefer it over my WA47 on bass drum (the Warm is easy to clip in this application, although perhaps it's the preamp input that's clipping, more experimentation needed sans client).
At some point, I'll just get a 121, but I'm thrifty and also making less and less and even less money recording bands.
Throw some recommendations at me if you feel like it. For one thing, I could look at the Fet47ish stuff from AA but are there any affordable ribbons or LDCs people dig on kick out? I have MJ v250s and an Oktava 2500 gathering dust (again, I just don't have a lot of time to experiment at the moment).
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Post by drbill on Oct 2, 2018 14:15:17 GMT -6
A mic for kick out that will have a WIDE variety of other uses - Gefell UM70. Usually in fig8. Original M7 cap, can get it RIGHT up on the kick due to lack of huge proximity, and gives a nice THUMP. A touch more than a 121, but infinitely more all around useful IMO. Just something to consider....
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Post by sean on Oct 2, 2018 14:18:07 GMT -6
I’ve been wanting to try the Shure KSM313 kick...apparently those can take a beating I’ve been wanting to try a figure 8 mic for inside kick to pick up the batter and resonant head.
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Post by mulmany on Oct 2, 2018 15:29:12 GMT -6
I have been enjoying the Warbler MKV, it's a ribbon-ish condenser. Really nice and flat with amazing low end extension. It's also very well priced.
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Post by stormymondays on Oct 2, 2018 15:55:27 GMT -6
I wanted to like my R101 for that application too but I never did. I think the Stager SR-2N is really nice for thunderous lows.
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Post by stratboy on Oct 2, 2018 16:55:06 GMT -6
So one place I book in San Francisco has copious Royers and I have come to love the 121 (not to mention 122v) on Kick Out. At my little shop here in town we have a Royer 101. It does not have the same low low bump in its freq response and I am on the fence about whether I prefer it over my WA47 on bass drum (the Warm is easy to clip in this application, although perhaps it's the preamp input that's clipping, more experimentation needed sans client). At some point, I'll just get a 121, but I'm thrifty and also making less and less and even less money recording bands. Throw some recommendations at me if you feel like it. For one thing, I could look at the Fet47ish stuff from AA but are there any affordable ribbons or LDCs people dig on kick out? I have MJ v250s and an Oktava 2500 gathering dust (again, I just don't have a lot of time to experiment at the moment). I really like my AA CM48se on bass amps and kick drums. Plus Advanced Audio is a very high quality company. I wouldn’t be afraid to try them if I were you. Give Dave a call and talk it over with him. Couldn’t be friendlier or more helpful, whether you buy or not. |
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Post by johneppstein on Oct 2, 2018 17:01:14 GMT -6
I’ve been wanting to try the Shure KSM313 kick...apparently those can take a beating I’ve been wanting to try a figure 8 mic for inside kick to pick up the batter and resonant head. Out of phase with each other? |
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Post by notneeson on Oct 2, 2018 20:42:11 GMT -6
A mic for kick out that will have a WIDE variety of other uses - Gefell UM70. Usually in fig8. Original M7 cap, can get it RIGHT up on the kick due to lack of huge proximity, and gives a nice THUMP. A touch more than a 121, but infinitely more all around useful IMO. Just something to consider.... My band mate has one. Need to borrow it some time. |
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Post by notneeson on Oct 2, 2018 20:44:41 GMT -6
So one place I book in San Francisco has copious Royers and I have come to love the 121 (not to mention 122v) on Kick Out. At my little shop here in town we have a Royer 101. It does not have the same low low bump in its freq response and I am on the fence about whether I prefer it over my WA47 on bass drum (the Warm is easy to clip in this application, although perhaps it's the preamp input that's clipping, more experimentation needed sans client). At some point, I'll just get a 121, but I'm thrifty and also making less and less and even less money recording bands. Throw some recommendations at me if you feel like it. For one thing, I could look at the Fet47ish stuff from AA but are there any affordable ribbons or LDCs people dig on kick out? I have MJ v250s and an Oktava 2500 gathering dust (again, I just don't have a lot of time to experiment at the moment). I really like my AA CM48se on bass amps and kick drums. Plus Advanced Audio is a very high quality company. I wouldn’t be afraid to try them if I were you. Give Dave a call and talk it over with him. Couldn’t be friendlier or more helpful, whether you buy or not. Totally, I enjoy Dave's forum presence, that's what got me started on them. |
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Post by ericn on Oct 2, 2018 21:04:58 GMT -6
A mic for kick out that will have a WIDE variety of other uses - Gefell UM70. Usually in fig8. Original M7 cap, can get it RIGHT up on the kick due to lack of huge proximity, and gives a nice THUMP. A touch more than a 121, but infinitely more all around useful IMO. Just something to consider.... My band mate has one. Need to borrow it some time. You won’t want to give it back. |
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Post by stormymondays on Oct 3, 2018 5:04:16 GMT -6
My AA CM47 works pretty well for that too!
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Post by cowboycoalminer on Oct 3, 2018 8:17:17 GMT -6
I’ve owned the 122v and found it to be versatile. And I might get lynched for saying this in a Royer thread but I’ve shot out a lot of good ribbons in my own room with all the heavy hitters. Honestly, I’ve settled on Golden Age ribbonsand sold all the rest. The non modded versions too. They sound as good as any I’ve used at a fraction of the price. Maybe give one a try on kick? You might like it.
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Post by drbill on Oct 3, 2018 9:41:24 GMT -6
A mic for kick out that will have a WIDE variety of other uses - Gefell UM70. Usually in fig8. Original M7 cap, can get it RIGHT up on the kick due to lack of huge proximity, and gives a nice THUMP. A touch more than a 121, but infinitely more all around useful IMO. Just something to consider.... My band mate has one. Need to borrow it some time. Try it in fig8, getting the null pointing up towards the snare / hh wash. Works very well for me. <thumbsup> |
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Post by drbill on Oct 3, 2018 9:43:26 GMT -6
My band mate has one. Need to borrow it some time. You won’t want to give it back. Haha!! True. I bought 9 at one point from a scoring engineer friend (who I believe later regretted selling them), and to help finance the purchase, I sold 2 of the M70/692's. One of my worst decisions. Wish I had em back. I'd use all 9 easily. They are THAT good.  |
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Post by drbill on Oct 3, 2018 9:45:27 GMT -6
I’ve owned the 122v and found it to be versatile. And I might get lynched for saying this in a Royer thread but I’ve shot out a lot of good ribbons in my own room with all the heavy hitters. Honestly, I’ve settled on Golden Age ribbonsand sold all the rest. The non modded versions too. They sound as good as any I’ve used at a fraction of the price. Maybe give one a try on kick? You might like it. Hey Cowboy!! Is there anything intrinsically unique about the Golden Age ribbons, or are they "similar" and "just as good"? |
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Post by notneeson on Oct 3, 2018 12:48:32 GMT -6
I’ve owned the 122v and found it to be versatile. And I might get lynched for saying this in a Royer thread but I’ve shot out a lot of good ribbons in my own room with all the heavy hitters. Honestly, I’ve settled on Golden Age ribbonsand sold all the rest. The non modded versions too. They sound as good as any I’ve used at a fraction of the price. Maybe give one a try on kick? You might like it. R1 or R2? Thanks! Love the 122v on E. Gtr, but I also love the m201 which is like 10% of the cost. (Not saying they sound the same, just two favs). |
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Post by cowboycoalminer on Oct 3, 2018 16:09:31 GMT -6
I’ve owned the 122v and found it to be versatile. And I might get lynched for saying this in a Royer thread but I’ve shot out a lot of good ribbons in my own room with all the heavy hitters. Honestly, I’ve settled on Golden Age ribbonsand sold all the rest. The non modded versions too. They sound as good as any I’ve used at a fraction of the price. Maybe give one a try on kick? You might like it. Hey Cowboy!! Is there anything intrinsically unique about the Golden Age ribbons, or are they "similar" and "just as good"? Bill, I find them "similar" just as "USABLE". Honestly, probably not AS good as Royer, Gefell and AEA but just by a nose. Eq takes care of the rest IMO. Now here's the thing though, If I'm recording a major project that I want to last, then yes, I choose the heavies. But for standard everyday studio use, Golden Age is doing some really good work for thew common man. I applaud them in the research it took to get a usable mic at that price point. |
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Post by drbill on Oct 3, 2018 18:09:17 GMT -6
Cool. Thanks. I'm getting KILLER use out of my Apex 205's which cost less than $100, and I'll hold them up against Coles 4038's. And sometimes they win. BUT...that said, I did have Joly mod them with a Lundhal and new ribbon that wasn't sagging like a rope bridge.... |
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Post by schmalzy on Oct 4, 2018 12:38:52 GMT -6
Cool. Thanks. I'm getting KILLER use out of my Apex 205's which cost less than $100, and I'll hold them up against Coles 4038's. And sometimes they win. BUT...that said, I did have Joly mod them with a Lundhal and new ribbon that wasn't sagging like a rope bridge.... I have an Apex 205 - also got it under $100 - and your experience is similar to mine. Saggy ribbon? Check! Sounds great (after the ribbon was sorted out)? Check! I dig that mic a lot. It sees a lot of action between drum overhead, drum room, acoustic guitars, guitar amps, aux percussion...it's been good! I've wanted to get another but my guy who did my re-ribbon doesn't do it anymore and didn't give me the details of the ribbon. I'd basically be getting one microphone for the cost of two new ribbons if I wanted to use 'em in pairs. I've been told one of the Shinybox mics is similar but ships without requiring the new ribbon. It would be interesting to hear 'em against each other, for sure! |
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Post by ulriggribbons on Oct 4, 2018 13:29:30 GMT -6
Hey there, I'm qualified to comment on that  My mics do share the same design geometry as the 205, but they diverge from there in the following ways: The quality of parts is higher. I wasn't after taking something cheap and trying to sell it for more. Or to make something cheap and try to sell high volume. The finish quality of the parts is to a higher standard, and the mics come with a high quality shockmount, in a case designed to hold both the mic and shockmount. This also applies to the selection of materials. There are comments out there about how screening needs to be removed from the 205, which is not the case with my microphones. If you use the right materials, the mic sounds better (go figure!) I redrew(in CAD) all the parts in 2007/8, so how the microphone is assembled is different than the 205, and more to my liking. Beyond that, the ShinyBox microphones are assembled by me here in the Pacific Northwest. I make and install the ribbons myself, and have ribboned thousands of microphones. All quality control is done here in my shop. I shoot frequency and phase response, as well as listening to every microphone. The focus of the ShinyBox ribbon mics is to make the best version of this mic that I can, and to provide high quality service should you experience any problems. Hope this helps. Regards Jon ps- apologies if this seems ranty or too much like marketing. I've largely kept my mouth shut about this stuff, but it's something I'm really passionate about. |
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Post by nudwig on Oct 4, 2018 13:42:54 GMT -6
I can vouch for Shiny Box ribbons being good on kick as I used my old pre-shockmount version on a kit yesterday. Great sound.
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Post by notneeson on Oct 4, 2018 14:10:38 GMT -6
Hey there, I'm qualified to comment on that My mics do share the same design geometry as the 205, but they diverge from there in the following ways: The quality of parts is higher. I wasn't after taking something cheap and trying to sell it for more. Or to make something cheap and try to sell high volume. The finish quality of the parts is to a higher standard, and the mics come with a high quality shockmount, in a case designed to hold both the mic and shockmount. This also applies to the selection of materials. There are comments out there about how screening needs to be removed from the 205, which is not the case with my microphones. If you use the right materials, the mic sounds better (go figure!) I redrew(in CAD) all the parts in 2007/8, so how the microphone is assembled is different than the 205, and more to my liking. Beyond that, the ShinyBox microphones are assembled by me here in the Pacific Northwest. I make and install the ribbons myself, and have ribboned thousands of microphones. All quality control is done here in my shop. I shoot frequency and phase response, as well as listening to every microphone. The focus of the ShinyBox ribbon mics are to make the best version of this mic that I can, and to provide high quality service should you experience any problems. Hope this helps. Regards Jon ps- apologies if this seems ranty or too much like marketing. I've largely kept my mouth shut about this stuff, but it's something I'm really passionate about. Jon, I’ve been admirer of your company for some time. Have used your mics on drum rooms at Sharkbite in Oakland, but that’s it. Which model has that 50-60hz or so bump? |
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Post by Tbone81 on Oct 4, 2018 14:30:05 GMT -6
Hey there, I'm qualified to comment on that My mics do share the same design geometry as the 205, but they diverge from there in the following ways: The quality of parts is higher. I wasn't after taking something cheap and trying to sell it for more. Or to make something cheap and try to sell high volume. The finish quality of the parts is to a higher standard, and the mics come with a high quality shockmount, in a case designed to hold both the mic and shockmount. This also applies to the selection of materials. There are comments out there about how screening needs to be removed from the 205, which is not the case with my microphones. If you use the right materials, the mic sounds better (go figure!) I redrew(in CAD) all the parts in 2007/8, so how the microphone is assembled is different than the 205, and more to my liking. Beyond that, the ShinyBox microphones are assembled by me here in the Pacific Northwest. I make and install the ribbons myself, and have ribboned thousands of microphones. All quality control is done here in my shop. I shoot frequency and phase response, as well as listening to every microphone. The focus of the ShinyBox ribbon mics are to make the best version of this mic that I can, and to provide high quality service should you experience any problems. Hope this helps. Regards Jon ps- apologies if this seems ranty or too much like marketing. I've largely kept my mouth shut about this stuff, but it's something I'm really passionate about. I got a shiny box ribbon from Jon just a little while ago and I can vouch that the build quality is very good. I compared it to my cascade fatheads and a stager sr2n, and the shiny box was the winner for me. The stager got sent back and I sold my fatheads. I’m mostly using it on acoustic guitar and hand percussion but will be using it on vocals a lot and I’ll be testing it on drums against a pair of Coles 4038’s in three weeks so we’ll see how it fairs. |
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Post by jamiesego on Oct 4, 2018 15:12:48 GMT -6
I wanted to like my R101 for that application too but I never did. I think the Stager SR-2N is really nice for thunderous lows. Yeah go for a Stager especially for this application. I've only used an SR3 in front of a kick but it was great and I would easily pick it over a Royer for that. |
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Post by ulriggribbons on Oct 4, 2018 15:19:06 GMT -6
Jon, I’ve been admirer of your company for some time. Have used your mics on drum rooms at Sharkbite in Oakland, but that’s it. Which model has that 50-60hz or so bump? Hey thanks! I feel really fortunate to have great studios and people I admire using my mics over the years. Of the three models I currently make, the 46U has just a bit more low end bloom than the other two models. It has to do with how the transformer is wound. Regards Jon |
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