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Post by Guitar on Mar 20, 2017 13:22:49 GMT -6
Dave, you are a wealth of information. Thanks, I hope to one day try some of your microphones.
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Post by Deleted on Mar 20, 2017 13:31:44 GMT -6
I need a 49. It's in my horoscope ......
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Post by Vincent R. on Mar 20, 2017 15:57:21 GMT -6
I'll be filming a video and with the CM49, hopefully this week. Also planning a couple of shootouts with a bunch of my mics including my AA mics. Should be fun.
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Post by aamicrophones on Mar 20, 2017 17:25:07 GMT -6
I'll be filming a video and with the CM49, hopefully this week. Also planning a couple of shootouts with a bunch of my mics including my AA mics. Should be fun. Thanks Vincent, that would be cool!!! We are meeting this evening to up-date our web-site so its more mobile friendly and easier to post up audio clips and videos. Here is a picture of Erin Dickins and a link to her track. Its such a honor and thrill that our CM49 microphone is on this recording and featured on her album cover. Erin Girl for Rhythm soundcloud.com/erindickins/erin-girl-for-rhythmCheers, Dave
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Post by nick8801 on Mar 21, 2017 7:31:41 GMT -6
Sounds fantastic Dave! I'd love to hear some samples of the new cm48t. I could see myself really liking that mic!
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Post by Vincent R. on Mar 21, 2017 14:06:56 GMT -6
I recorded a bunch of stuff this morning for YouTube. Hopefully I'll be able to trickle this music out over the next month. The first was a Great American songbook piece with the Advanced Audio CM49. The second was an original Great American songbook style piece with the Slate VMS FG47 emulation. The last was a microphone shoot out featuring old school crooner vocals, comparing the Altec 639a Ribbon Mic, Slate FG47, AA CM49, and the IOAudio MK U67.
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Post by aamicrophones on Mar 26, 2017 12:40:26 GMT -6
Sounds fantastic Dave! I'd love to hear some samples of the new cm48t. I could see myself really liking that mic! Hi Guys, our good friend Joe Carrell in Nashville has been shooting out and using the CM48T on tracks for the last week. He will start sending me files and some video next week. So, far he really likes it on violin and vocals. He will be recording acoustic guitars with it next week. Joe also has our CM49 and has put it up against the M49 in his building. We just posted some clips on our site of the CM48 compared to a TLM103, CM87 and CM414. We recorded some acoustic guitar, vocals, percussion and drums. Cheers, Dave
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Post by Vincent R. on Mar 26, 2017 16:04:46 GMT -6
Joe is a really nice and cool guy. aamicrophones, where on your site are those new clips?
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Post by aamicrophones on Mar 28, 2017 12:03:04 GMT -6
Hi Vincent, the clips where up on the site but seemed to have dissappeared??? I have Mike working on it. I will post again once I know they are back up on the site.
We are getting ready to do a complete site upgrade and I am not sure if that has something to do with them disappearing?
Cheers, Dave
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Post by Vincent R. on Mar 28, 2017 12:24:29 GMT -6
Looking forward to hearing them.
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Post by aamicrophones on Mar 28, 2017 12:58:07 GMT -6
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Post by Vincent R. on Mar 28, 2017 15:14:33 GMT -6
Hey aamicrophones, you ever think about getting into the ribbon game? You make an RCA44 style ribbon at a decent price and I'll end up owning another AA mic. Lol.
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Post by aamicrophones on Mar 29, 2017 10:33:41 GMT -6
Hi Vincent, I think the Vin Jet from Cascade at $399 is pretty close. Headgrill is different but it has a long ribbon element with a Lundahl transformer. Transformers are very important in a ribbon as they have in order of a 40:1 ratio.
This means any error in the transformer transfer curve is multiplied by the turns ratio. The ribbon element is pretty much a dead short .2 ohms and a 40:1 turns ratio is required which produces a 1600:1 impedance ratio.
So, the .2 ohm ribbon element yields about a 300 ohm output impedance after the transformer.
Ribbons don't excite me as much as condenser microphones as there is only a ribbon element and transformer in a ribbon microphone. There is not tube or solid state circuitry for me to optimize.
I did like the RCA 77DX on trumpet but Miles recorded trumpet into a U47 and M49. I prefer my CM47fet on saxophone to any ribbon I have tried but my favourite sax player Wayne Shorter uses a Royer R121 live and in the studio.
I am hoping to record a big band in a few weeks and I have a pair of dual ribbon element tube microphones I brought back from Shanghai two years ago that I will try over the horn players.
Cheers, Dave
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Post by aamicrophones on Apr 3, 2017 16:14:48 GMT -6
Hi Vincent, I think the Vin Jet from Cascade at $399 is pretty close. Headgrill is different but it has a long ribbon element with a Lundahl transformer. Transformers are very important in a ribbon as they have in order of a 40:1 ratio. This means any error in the transformer transfer curve is multiplied by the turns ratio. The ribbon element is pretty much a dead short .2 ohms and a 40:1 turns ratio is required which produces a 1600:1 impedance ratio. So, the .2 ohm ribbon element yields about a 300 ohm output impedance after the transformer. Ribbons don't excite me as much as condenser microphones as there is only a ribbon element and transformer in a ribbon microphone. There is not tube or solid state circuitry for me to optimize. I did like the RCA 77DX on trumpet but Miles recorded trumpet into a U47 and M49. I prefer my CM47fet on saxophone to any ribbon I have tried but my favourite sax player Wayne Shorter uses a Royer R121 live and in the studio. I am hoping to record a big band in a few weeks and I have a pair of dual ribbon element tube microphones I brought back from Shanghai two years ago that I will try over the horn players. Cheers, Dave Hi Vincent, I was thinking of bringing in a pair of these for testing our MT8016 preamps with ribbon microphones. I was planning on fitting some SAMAR torriodal transformers, which are the most efficient of transformers. The ratio needs to be 32:1 for this element. These would have a black base with silver head grills. The SAMAR torriodal transformers are $129 each and these would be $399 each with Samar transformers and selected ribbon elements. I would bring in the body that has an XLR on the side and not the cable hanging out. RM 44 long ribbon These have the long ribbon element like the original RCA 44bx. The ribbon elements are easy to change and tension. The 44bx ribbon element was about 59mm long but the microphone above has a more efficient magnet system than the old 44bx. Selecting ribbon elements is just as critical as selecting large diaphragm condenser capsules. The head grill on the RM44 is more faithful to the orginal 44bx than the vin jet. I do have two active tube ribbon microphones with dual element ribbons which seem to have a HF response that rolls out a bit early... (probably the two ribbons cancelling in the HF area). However, I have been using one directly above the snare drum just a few inches above the drummers head. It seems to give the snare a bit fatter sound without as much high hat leakage and I have two CM251 tube microphones "Glynn John" like out by the floor tom and in front of the kick/tenor tom. These microphones are not as high as you would set overheads but my ceiling height is just 10'. I once worked part-time in a post production studio in the early 90's with a original 44bx and a Neve BCM10 mixing console. It seemed a bit dark for most voice over, FX/foley and acoustic instruments. It sounded lovely on trumpet, T bone and alto saxophone. Cheers, Dave
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Post by Vincent R. on Apr 3, 2017 17:50:38 GMT -6
Very cool aamicrophones. I'll be in touch at some point. Planning some microphone videos and shoot outs. If you're still interested in having me make a video with the CM48T I have a big shoot out planned and it would be a great fit for it. I can also do a solo video with it. Just reach out and let me know.
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Post by aamicrophones on Apr 4, 2017 12:07:54 GMT -6
Hi Vincent, thanks!!! Our good friend Joe Carrell in Nashville is doing a CM48T shootout with video as we speak. They have a U47 in the building to compare it to. Joe did the WA87 shootout video.
When are you you going to do your shootout? I could have Joe ship the CM48T to you once he is finished. So far he has been really impressed with it using it on violin and vocals.
Cheers, Dave
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Post by Vincent R. on Apr 4, 2017 18:44:19 GMT -6
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Post by topshelfmg on Apr 5, 2017 3:16:19 GMT -6
Hi Vincent, I think the Vin Jet from Cascade at $399 is pretty close. Headgrill is different but it has a long ribbon element with a Lundahl transformer. Transformers are very important in a ribbon as they have in order of a 40:1 ratio. This means any error in the transformer transfer curve is multiplied by the turns ratio. The ribbon element is pretty much a dead short .2 ohms and a 40:1 turns ratio is required which produces a 1600:1 impedance ratio. So, the .2 ohm ribbon element yields about a 300 ohm output impedance after the transformer. Ribbons don't excite me as much as condenser microphones as there is only a ribbon element and transformer in a ribbon microphone. There is not tube or solid state circuitry for me to optimize. I did like the RCA 77DX on trumpet but Miles recorded trumpet into a U47 and M49. I prefer my CM47fet on saxophone to any ribbon I have tried but my favourite sax player Wayne Shorter uses a Royer R121 live and in the studio. I am hoping to record a big band in a few weeks and I have a pair of dual ribbon element tube microphones I brought back from Shanghai two years ago that I will try over the horn players. Cheers, Dave Hi Vincent, I was thinking of bringing in a pair of these for testing our MT8016 preamps with ribbon microphones. I was planning on fitting some SAMAR torriodal transformers, which are the most efficient of transformers. The ratio needs to be 32:1 for this element. These would have a black base with silver head grills. The SAMAR torriodal transformers are $129 each and these would be $399 each with Samar transformers and selected ribbon elements. I would bring in the body that has an XLR on the side and not the cable hanging out. RM 44 long ribbon These have the long ribbon element like the original RCA 44bx. The ribbon elements are easy to change and tension. The 44bx ribbon element was about 59mm long but the microphone above has a more efficient magnet system than the old 44bx. Selecting ribbon elements is just as critical as selecting large diaphragm condenser capsules. The head grill on the RM44 is more faithful to the orginal 44bx than the vin jet. I do have two active tube ribbon microphones with dual element ribbons which seem to have a HF response that rolls out a bit early... (probably the two ribbons cancelling in the HF area). However, I have been using one directly above the snare drum just a few inches above the drummers head. It seems to give the snare a bit fatter sound without as much high hat leakage and I have two CM251 tube microphones "Glynn John" like out by the floor tom and in front of the kick/tenor tom. These microphones are not as high as you would set overheads but my ceiling height is just 10'. I once worked part-time in a post production studio in the early 90's with a original 44bx and a Neve BCM10 mixing console. It seemed a bit dark for most voice over, FX/foley and acoustic instruments. It sounded lovely on trumpet, T bone and alto saxophone. Cheers, Dave Hey Dave! As far as Cascade microphones go that are inspired by classic ribbons, I really enjoy the Cascade C77, which for the money is a fantastic RCA 77 style microphone. It also uses a Lundahl transformer, which I agree is incredibly important. I have a pair of Cascade Fathead IIs with the Lundahl transformer upgrade as a "budget" pair of ribbon microphones, and they sound fantastic. I love them in front of the kick drum pair with another microphone to pick up the punch, and the Fatheads almost act as a sub kick microphone using the proximity response. I also really like them as overheads / drum rooms depending on the genre, and have actually stereo miked two separate harps with them and they worked great! I have compared them to the models with the stock transformers, and there is no way I could pull that off with them. Duller transient response, less clarity, slightly less low end and high end response, and a slightly lower output level. I have heard the Lundahl Fathead IIs are also great on certain guitar amps / cabs, but I have always sprung for other options so I couldn't tell ya.
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Post by aamicrophones on Apr 5, 2017 13:42:45 GMT -6
Hi Michael, the Cascade microphone are made by Shanghai Electronics the same guys we get our microphone components from. I just ordered several of each of their ribbon elements as I have three ribbon microphones here that need the ribbon element replacing.
I don't think Cascade make the C77 anymore? The 77dx was the RCA ribbon I found the most useful. The 77DX had a variable tuned acoustic port so you could change the pattern from OMNI thru cardiod to FIG 8.
Its the only ribbon I know that had a variable pattern. I will ask Shanghai if they still have the 77dx body and I might bring some in as I think there is a niche for a good 77DX clone.
Apparently, the SAMAR transformers are superior to even the Lundahl which makes sense knowing the theory of torriodal transformers.
Also, our friends at Cinemag also make some really good transformers for ribbons. When I was in Shanghai two years ago I brought back two sample ribbon microphones that have a tube preamp with the same tube as our CM48T.
I really liked them over top of the drum kit with a pair of condensers John Glynn style by the floor tom and tenor toms. Just got an e-mail from MIX Magazine the review on the MT8016 is going into the May edition.
I had better get a few more built up as Wes Maube the reviewer loved it and they have two API consoles and a Neve at RAK where he was using it. It looked like they also had nearly every other preamp known to man in their outboard rack.
Saw a lovely Fairchild compressor in the rack when I was there last year. I recorded a live Jazz quartet a few months ago and it was lovely that I could bring out 6 LDC tube microphones and 6 LDC Fet microphones for the recording.
Cheers, Dave
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Post by Vincent R. on Apr 5, 2017 15:24:44 GMT -6
I don't think Cascade make the C77 anymore? The 77dx was the RCA ribbon I found the most useful. The 77DX had a variable tuned acoustic port so you could change the pattern from OMNI thru cardiod to FIG 8. Its the only ribbon I know that had a variable pattern. I will ask Shanghai if they still have the 77dx body and I might bring some in as I think there is a niche for a good 77DX clone. Dave, An RCA 77DX clone would be very cool. The Altec 639 is also a ribbon with variable polar patterns, but it used a dynamic element to do so. In omni it is using the dynamic mode. In figure 8, Ribbon mode. In cardioid both. I have on here. Mario Lanza used one for all the vocals for "The Great Caruso," Judy Garland for "The Wizard of Oz." It's more nostalgic than anything for me, but cool.
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Post by topshelfmg on Apr 5, 2017 22:16:46 GMT -6
Hi Michael, the Cascade microphone are made by Shanghai Electronics the same guys we get our microphone components from. I just ordered several of each of their ribbon elements as I have three ribbon microphones here that need the ribbon element replacing. I don't think Cascade make the C77 anymore? The 77dx was the RCA ribbon I found the most useful. The 77DX had a variable tuned acoustic port so you could change the pattern from OMNI thru cardiod to FIG 8. Its the only ribbon I know that had a variable pattern. I will ask Shanghai if they still have the 77dx body and I might bring some in as I think there is a niche for a good 77DX clone. Apparently, the SAMAR transformers are superior to even the Lundahl which makes sense knowing the theory of torriodal transformers. Also, our friends at Cinemag also make some really good transformers for ribbons. When I was in Shanghai two years ago I brought back two sample ribbon microphones that have a tube preamp with the same tube as our CM48T. I really liked them over top of the drum kit with a pair of condensers John Glynn style by the floor tom and tenor toms. Just got an e-mail from MIX Magazine the review on the MT8016 is going into the May edition. I had better get a few more built up as Wes Maube the reviewer loved it and they have two API consoles and a Neve at RAK where he was using it. It looked like they also had nearly every other preamp known to man in their outboard rack. Saw a lovely Fairchild compressor in the rack when I was there last year. I recorded a live Jazz quartet a few months ago and it was lovely that I could bring out 6 LDC tube microphones and 6 LDC Fet microphones for the recording. Cheers, Dave I don't believe so either, but I see them pop up on reverb.com every now and then! There is actually a brand new one right now for $500. I was also going to mention the Altec as a multi-pattern ribbon, though I believe it also has a dynamic capsule / element in there as well to achieve this. Very cool to hear all of that! Looking forward to the review, and even more so, looking forward to demoing the MT8016 and inevitably owning one. I will email you about this further, but I would love to review the MT8016 for a magazine I am writing for as well. I just have to run it by my editor. Cheers, Michael
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Post by EmRR on Apr 6, 2017 8:04:04 GMT -6
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Post by aamicrophones on Apr 6, 2017 12:32:20 GMT -6
Hi Doug, thanks for the link. That's a great article by LM Watts. Thanks for linking it to the site. I will have to read it a couple more times.
The LM Watts is a little pricey at the moment but hopefully the price will come down if they go into full production.
Great explanation of the RCA 77DX labryinth and how it changes the pattern response.
Cheers, Dave
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Post by Vincent R. on Apr 17, 2017 22:32:31 GMT -6
Finally finished my next Live in the Studio video. Check out my rendition of the classic "Mona Lisa." I'm using aamicrophones ' CM49 in the video.
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Post by stratboy on Apr 18, 2017 4:58:51 GMT -6
Damn, that's nice!
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