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Post by Mister Chase on Nov 15, 2017 22:49:42 GMT -6
I just needed to pony up for one. I will use it on drums mainly. Eventually will get a second.
In the world of ribbons, this one seems to stand out with some meat and mids to it along with the big lows.
What are you guys liking it on? Horns, sax?
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Post by spindrift on Nov 15, 2017 23:15:59 GMT -6
It is a really great mic. Horns, sax? YES! Best sax I've gotten is with a 77DX though...that sounded magical but I'm sure the 4038 would have done really well there too. Don't put them too close to drums (keep a foot or two back from big drums with lots of low-end). I've re-ribboned my pair twice now
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Post by Mister Chase on Nov 16, 2017 0:03:57 GMT -6
Hey spin! Did you ever get your TLM 170s?
Right on. I have to admit, I am really getting this for an overhead or room, because every time I've heard a Coles on drums it was great. Maybe not when you want smaller drums in the mix but, I can see using this on my more spacious avant garde stuff with great appeal. I love my AEA r84, but it's so soft and bottom/top heavy(it picks up highs beautifully somehow).
I will be careful with it. That sounds not fun.
I am looking forward to this though.
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Post by rowmat on Nov 16, 2017 0:15:26 GMT -6
I just needed to pony up for one. I will use it on drums mainly. Eventually will get a second. In the world of ribbons, this one seems to stand out with some meat and mids to it along with the big lows. What are you guys liking it on? Horns, sax? On O/H's the Coles will take quite a lot of high end EQ without getting horrible and trashy. You'll know that famous Coles sound when you hear the cymbals shimmer rather than fizz.
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Post by Mister Chase on Nov 16, 2017 0:45:40 GMT -6
I just needed to pony up for one. I will use it on drums mainly. Eventually will get a second. In the world of ribbons, this one seems to stand out with some meat and mids to it along with the big lows. What are you guys liking it on? Horns, sax? On O/H's the Coles will take quite a lot of high end EQ without getting horrible and trashy. You'll know that famous Coles sound when you hear the cymbals shimmer rather than fizz. And that's a huge reason for me wanting one. Well, two. They display the cymbals in the most beautiful way imaginable. They also pick up the toms with gusto unlike any other oh I've heard really. Gotta get that second one at some point.
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Post by rowmat on Nov 16, 2017 5:15:06 GMT -6
In the meantime here's my pair the day they arrived from the UK a couple of months ago. (Just to whet your appetite!)
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Post by levon on Nov 16, 2017 7:04:28 GMT -6
In the meantime here's my pair the day they arrived from the UK a couple of months ago. (Just to whet your appetite!) Oh, thank you! Thank you very much! I had just convinced myself that I don't need one. Now you guys come along...
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Post by adamjbrass on Nov 16, 2017 8:34:33 GMT -6
I just needed to pony up for one. I will use it on drums mainly. Eventually will get a second. In the world of ribbons, this one seems to stand out with some meat and mids to it along with the big lows. What are you guys liking it on? Horns, sax? Definitely horns. I would probably gravitate towards using it as a Room microphone for that but, FWIW I find this to be the worlds greatest microphone for Violin, it knocks my socks off when I hear that. But, I am using it to intentionally lose the "scratchiness" of the instrument. Perhaps in a similar way to recording a banjo and controlling the transients, without doing anything but placing a mic. Unless you want more of that. When I put the 4038 on as a mono over head, it wraps drums into a velvet pajama suit, but since its really dark and truncated, it compresses away the things that hurt your ears. You still maintain the top end, its just further down on this mic, starting at 15kHz. So with the null canceling out the cymbals, it hones in on the front of the batter head and the Snare. Leaving the cymbals and hats sounding "mixed" for you. Tucks it into the zone instantly. Not without some work though! If you want less work there, I would use a Beyer M160 instead, hehe. 4038's are bad ass on B3/Leslie too. I love them as drum room mics. The 4038 definitely has a lot of extra bottom end. And wants to be pushed back off the sound to work its humongous proximity effect. I might start out 6ft from the source, for louder sounds anyway. I almost NEVER use a 4038 for a quiet sound. There are some times when its super cool though.
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Post by c0rtland on Nov 16, 2017 9:48:16 GMT -6
Vocals!
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Post by Mister Chase on Nov 16, 2017 10:45:30 GMT -6
In the meantime here's my pair the day they arrived from the UK a couple of months ago. (Just to whet your appetite!) She woreeeeee blueeeeeeeeeeeeeeee velvettttttttttttttttttttt. Beautiful!
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Post by Mister Chase on Nov 16, 2017 10:48:38 GMT -6
I just needed to pony up for one. I will use it on drums mainly. Eventually will get a second. In the world of ribbons, this one seems to stand out with some meat and mids to it along with the big lows. What are you guys liking it on? Horns, sax? Definitely horns. I would probably gravitate towards using it as a Room microphone for that but, FWIW I find this to be the worlds greatest microphone for Violin, it knocks my socks off when I hear that. But, I am using it to intentionally lose the "scratchiness" of the instrument. Perhaps in a similar way to recording a banjo and controlling the transients, without doing anything but placing a mic. Unless you want more of that. When I put the 4038 on as a mono over head, it wraps drums into a velvet pajama suit, but since its really dark and truncated, it compresses away the things that hurt your ears. You still maintain the top end, its just further down on this mic, starting at 15kHz. So with the null canceling out the cymbals, it hones in on the front of the batter head and the Snare. Leaving the cymbals and hats sounding "mixed" for you. Tucks it into the zone instantly. Not without some work though! If you want less work there, I would use a Beyer M160 instead, hehe. 4038's are bad ass on B3/Leslie too. I love them as drum room mics. The 4038 definitely has a lot of extra bottom end. And wants to be pushed back off the sound to work its humongous proximity effect. I might start out 6ft from the source, for louder sounds anyway. I almost NEVER use a 4038 for a quiet sound. There are some times when its super cool though. Thanks for the insight! Sounds sort of like my AEA R84. It likes to be back because of its huge low end. Sometimes I just use a 6db/oct high pass up to 200hz and it sounds just right.
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Post by Mister Chase on Nov 16, 2017 10:48:57 GMT -6
Will certainly give that a try!
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Post by ulriggribbons on Nov 16, 2017 11:45:26 GMT -6
In the meantime here's my pair the day they arrived from the UK a couple of months ago. (Just to whet your appetite!) I like the new cases they've switched to quite a bit. The latches on the old cases were just a creased bit of plastic, and most mics I see, those are broken off. They've also changed to what looks like a wet paint on the grills, rather than powder coat, which is far less susceptible to chipping over time. In case anyone needs some encouragment:
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Post by c0rtland on Nov 16, 2017 12:37:02 GMT -6
Will certainly give that a try! needs a pultec afterwards but it's so good.
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Post by spindrift on Nov 16, 2017 13:01:42 GMT -6
Hey spin! Did you ever get your TLM 170s? Right on. I have to admit, I am really getting this for an overhead or room, because every time I've heard a Coles on drums it was great. Maybe not when you want smaller drums in the mix but, I can see using this on my more spacious avant garde stuff with great appeal. I love my AEA r84, but it's so soft and bottom/top heavy(it picks up highs beautifully somehow). I will be careful with it. That sounds not fun. I am looking forward to this though. Yes, I ended up with 3 170i models Love them though!
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Post by Mister Chase on Nov 16, 2017 17:11:23 GMT -6
In the meantime here's my pair the day they arrived from the UK a couple of months ago. (Just to whet your appetite!) I like the new cases they've switched to quite a bit. The latches on the old cases were just a creased bit of plastic, and most mics I see, those are broken off. They've also changed to what looks like a wet paint on the grills, rather than powder coat, which is far less susceptible to chipping over time. In case anyone needs some encouragment: !!! The wet paint is probably much more durable.
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Post by Mister Chase on Nov 16, 2017 17:11:53 GMT -6
Will certainly give that a try! needs a pultec afterwards but it's so good. I was looking at the KT which is super affordable. I have the UAD stuff, too. Shouldn't be a problem.
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Post by Mister Chase on Nov 16, 2017 17:12:47 GMT -6
Hey spin! Did you ever get your TLM 170s? Right on. I have to admit, I am really getting this for an overhead or room, because every time I've heard a Coles on drums it was great. Maybe not when you want smaller drums in the mix but, I can see using this on my more spacious avant garde stuff with great appeal. I love my AEA r84, but it's so soft and bottom/top heavy(it picks up highs beautifully somehow). I will be careful with it. That sounds not fun. I am looking forward to this though. Yes, I ended up with 3 170i models Love them though! nothing wrong with those! They all sound so close in my memory. I honestly just couldn't afford new ones so the old purple badges were it.
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Post by jayson on Nov 16, 2017 19:19:44 GMT -6
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Post by levon on Nov 17, 2017 1:50:53 GMT -6
Nice. Oh oh, you're not helping me here
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Post by allbuttonmode on Nov 17, 2017 2:39:51 GMT -6
You cannot go wrong with the 4038. I have 3 so far. One matched pair for OH and another one for all other duties. To me, they have become indispensable.
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Post by levon on Nov 17, 2017 4:09:26 GMT -6
One more question for you Coles fans, which preamp do you use? I guess the 4038 has a pretty low output, I wonder if something like my BAE 1028 will work.
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Post by allbuttonmode on Nov 17, 2017 4:41:45 GMT -6
One more question for you Coles fans, which preamp do you use? I guess the 4038 has a pretty low output, I wonder if something like my BAE 1028 will work. I would advice you to get one of these: Cloudlifter No need when recording drums, though, but with any acoustic instruments, it's a must. Then you can use any preamp without getting an insane amount of noise.
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Post by levon on Nov 17, 2017 4:53:01 GMT -6
Thanks, I forgot about those. I was just looking at the Triton FetHead, that might also work...
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Post by stormymondays on Nov 17, 2017 8:19:48 GMT -6
The Crimson Audio Mogaines are giving me spectacular results for that! (with Stager SR-2N mics and SM7)
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