The Sigma prompted immediate 'coools' across the room when we brought it up. The rear side of this mic is brighter, with stronger high-mids, making it a great choice for guitars that need a little more cut in the mix. "Seriously cool vintage vibes" was the verdict — like a less extreme version of the Sigma, and incredibly smooth in the treble roll-off. Accented, but smooth high mids make this a good choice for loud guitar amps. It is perhaps not the mic to choose if you're looking for an all-rounder as, like the Sontronics Sigma, it sounds seriously 'vintage', but it is a lovely character to have available. A ribbon’s signature proximity effect will provide warmth and low-end to those less flattering vocals without the need for eq. We really liked the R2 in this role — it had a lovely kick and snare drum ring, and some of the character of the Sontronics Sigma. SE Reflexion Filters were used with all the mics, to minimise unwanted room sound, for the vocal test recordings. The R1 Mk2 gave a very nice, lively and broad result, with a great kick sound that was bettered only by the Coles. ", "Huge sound — almost muddy because it is so big at the bottom! … The Beyerdynamic M 160 is a small diaphragm hypercardiod ribbon mic with TWO ribbon transducers. That said, that ribbon smoothness was still in evidence, with none of those nasty high-frequency resonances you get with some condensers (especially at the cheaper end of the market, where high-frequency extension and high-frequency distortion often seem to go hand in hand!). The results are all the more impressive considering the price. We also recorded the guitar via an Oktava MK012 with cardioid capsule as a 'control' condenser comparison. The Woodpecker's extended top end was again in evidence on acoustic guitar, giving lots of detail and capturing the plectrum of the player with great clarity, but without the annoying extreme HF clicks of the Oktava condenser. While it is not so useful for the styles of music I work with, it is an impressive mic for its character alone. It's a good mic but obviously not meant for this role. That said, we also felt it was able to cut through the mix in a similar way to the Royer, which, given the price difference, was quite a surprise. Although perhaps not the first choice as a general-purpose vocal mic, its character is very smooth and classy and I can imagine a rock vocalist with sibilance problems would suit this mic well. ", "Quite a nasal sound on electric guitars. Nice, Daddy-o... Blue's intention with the Woodpecker was apparently to create a ribbon with an unusually extended high-frequency response, and our tests bore this out, showing a top-end response in the same ball park as the Crowley & Tripp Studio Vocalist. SE Reflexion Filters were used with all the mics, to minimise unwanted room sound, for the vocal test recordings. It looks a little bit like a childs toy but don't get it confused! We thought this might be good for James Brown-style or vinyl-sounding cameo parts, but it was too coloured to be a general workhorse in this application. Big bottom end, but without being muddy. At the top of the range we have AEA, Beyer, Blue, Coles, Crowley & Tripp and Royer — traditional high-end, Western microphone companies, making premium products with little or no compromise. We positioned each microphone 12 inches from an acoustic guitar. Despite its great showing on the vocal tests, this mic sounded phasey and too coloured on our drum kit, with splashy, sibilant cymbals. Of course, the results are subjective — they take account of our personal tastes, and the character of the vocalists and instruments that we used in the tests, but there's really no other way to do this. It is less sensitive to ambient noise as a result because it lowers noise suppression at 110° by 25 dB and captures less noise from behind. It might sound a little different, but ribbon mics can be a great choice as a vocal mic. The M 160 is fondly called a gem, for obvious reasons. Because of its shape, we've damped the acoustic right down and tend to work with convolution reverbs to add airiness where needed, occasionally tracking in other rooms when we need a brighter sound (such as, for example, with a jazz kit). See our comments for the R1 Mk2, below. The classic among them is the dynamic double microphone M 160. The treachery of high-end equalization. The Velo 8 brought instant smiles to our faces, with its lovely, smooth, dark, rolled-off top end. For the best experience on our site, be sure to turn on Javascript in your browser. Here you will find free downloads of catalogues, data sheets and manuals of the beyerdynamic product range.As well you can download firmware and software for beyerdynamic products. R1 Mk2 £109; R1 Active Mk2 £169; R1 Tube Active £229; R2 £79. ", Recording the acoustic guitar, for which the ribbon mics with an extended top end performed well. He runs Poseidon, a music-production company creating records and music for picture (www.poseidonmusic.com) and works with a small team from the studio he owns, Artisan (www.artisanaudio.com). I am a student, musician, writer, and pretty good line dancer residing in beautiful Nashville, TN. Our double-ribbon microphone M 160 exemplifies world-class craftsmanship. Jon produced and engineered Scott Matthews' Ivor-Novello award-winning album Passing Stranger, and, as well as producing several other records, has recently co-written the music for a number of BBC television series. The Royer was lovely on acoustic: intensely clear, yet full. The Coles 4038 and Beyer M160 showed why they're some people's first choice for this application. The Beyer's hypercardioid pattern, predictably enough, led it to give us a tighter sound, with less room than any other mic on test. The views expressed are those of the contributors and not necessarily those of the publishers. ", "A biig sound that's quite bright and sharp. After a few minutes I couldn't wait to record a jazz singer, a saxophone and a drum kit with it — preferably all in the one room at the same time, with the one mic, while drinking bourbon. It was still our favourite all-rounder, though, and we thought it very classy. Surprisingly bright, the Coles sounded quite 'hi-fi', with a less obviously rolled-off top than some of the others — quite neutral. Good for some applications. The R1 Mk2 was very nice and balanced, with a more recessed mid-range than the Royers or the Coles. The 4038 showed a restrained control on vocals which we didn't hear with any of the other microphones — it was really very 'British'. Upon hearing these mics as a pair on overheads, one of our committee declared he didn't want to make another rock record without using this configuration... they do something to snare drums that we've never heard any other overhead do, really bringing out the crack and weight equally. One final irony, which we couldn't help but notice, was that the quality and quantity of the accessories supplied with each of the mics were almost perfectly inversely proportional to the cost of the microphones. The SE ribbon, I'm afraid I found quite uninteresting — it isn't bad, but then there isn't anything inspiring about it either. As an all-rounder, I was continually impressed by the sound of the AEA R84. Greg recorded clean and distorted guitar miked six inches from the speaker grille, slightly off-centre from one 12-inch speaker in a 4x12 cab. The vocalist liked how she could 'hear everything'. It sounded totally different from GA's R2, with a clear, smooth top end, and a lovely warm lower mid-range.