Good for what?
So this caught my eye:
Nady Ribbon Mic
But then I realized that I had no clue as to what the application for a ribbon mic would be! So then… what are they good for? Any advantage or disadvantage over my Studio Pjoects C-2 & B-3?
Take also a look at this site:
http://www.harmony-central.com/Recording/Data/Nady/RSM_2-1.html
www.harmony-central.com
Btw it’s for anyone on this site a good adress to look before you buy anything; drum, bas, guitar, effects, recordingstuff or whatever … Give also the revieuws on this site attention!!!
But it’s also good to know the experiences off ntr-users! I don’t know the mic???
In my experience, ribbon mics are great for more ambient recordings i.e. capturing a whole room, they seem to have a really nice smooth bottom end.
They are, however, highly intolerant of phantom power. Having phantom power on when connecting a ribbon mic will cook the mic.
I think one of the old timers (you know who you are!) started a thread a while ago about building a homemade ribbon mic.
.-=gp=-.
Ribbons have a truly beautiful sound. They’re dynamic in nature, so don’t suffer from the idiosyncrasies of condensers. They have the LF solidity of true dynamics, and an HF response and “airyness” that puts condensers to shame.
Being intrinsically figure of 8 pickup pattern, they do pick up ambience as chutz said, so if you’re using one to record a vocalist for example, you need to be conscious of positioning, not only in relation to the singer, but in relation to the wall the singer is facing too.
But, a warning, if you look at them the wrong way, they die! 
Well, not quite, but they are notoriously fragile, so don’t even think about using one for a gig.
The international courts have ruled that someone banging on a ribbon mike and saying “Duh, is this mikerafone thing turned on?” is justifiable reason for homicide.
Sounds like it might not suit my situation. I don’t have an isolation booth, just my living room and background noise is tricky manage. Oh well. Thanks for the info!
| Quote (chutz @ Jan. 20 2006,16:29) |
| IThey are, however, highly intolerant of phantom power. Having phantom power on when connecting a ribbon mic will cook the mic. |
FWIW, that's not always true - the topic has come up over at tape op, and lots of folks there use them with phantom on - apparently it has to do with how they are wired - wrong way and the current will ruin the ribbon, but otherwise...well, in any case, I've never tried it with mine.
Ribbons are great for guitar cabs, vocals - motown folks actually used one laid sideways in the kick drum! Clips I've heard of the nady put it definitely in the same sonic space as more expensive ones, although there is a difference. They are sensitive to the preamp used, however, and if you get one you need to try it out with different pres until you find the right one. One thing you will notice - the high end we're used to from our cheapo LD condensors is not there. This is actually a good thing.
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| I think one of the old timers (you know who you are!) started a thread a while ago about building a homemade ribbon mic. |
I think that was Katow, iirc.
Ribbon mics are very cool and most of the ones I’ve worked with sound gorgeous. I’m a big fan of ribbon for vocals and some sound better on guitar amps than just about any other type of mic. They’re not as fragile as some make them out to be (I’m looking in your direction, Ali…), but you do need to be careful when using them. Plosives in particular are a big no-no, so get you a good pop filter if you plan on recording vocals with one.
One of my favorites is the Coles 4038, which is a traditional figure 8 pattern. It’s been the standard BBC voice mic for years. I also especially like the Beyerdynamic M500, which is a double ribbon cardioid pattern mic. That one is built like a tank, has no trouble being used on stage, and is one of my favorites for loud guitar amps. The RCA BK-5 is pretty similar to it, and sounds just as good. Shure made some nice nice ribbon units too (I have the 300, and Johnny Carson used to sport the 330 on his desk). I haven’t used any of the newer, less expensive Chinese ribbons, but the reports are generally favorable.
Don’t be afraid of ribbon mics! They do stuff on the top and bottom ends of the spectrum that other microphones don’t. Now that there are cost effective versions available, and so many less expensive condensors have what I think is a bit of a brittle tone, a ribbon mic could be just the thing for a little change in your recording palette…
I believe that Nirvana’s Nevermind album used ribbon mics on the guitars almost exclusively. They’re known for taming some treble while still having an air about them.
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| They’re not as fragile as some make them out to be (I’m looking in your direction, Ali…), |
Well, you’re probably right Clava, but I know nothing about modern ribbons.
As you know, most of the Coles were designed by BBC engineering dept, and several of the BBC built prototypes are at Washford Tx site (or rather, were. Now that Tx dept has been privatised they’ve probably been thrown in the skip
).Anyway, I recall when as a young innocent trainee at Ally Pally being told, “Don’t be so f***ing clumsy with that mike lad! It’s worth ten times as much as you, and it’s a hundred times more useful!” (Both statements undoubtedly true).
We even had to store those Coles vertically; it seems (or so I was told) that if you stored them on their sides, the ribbon sagged and ruined the mike.
But as I said, technology has undoubtedly moved on, (even if I haven’t
).
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| We even had to store those Coles vertically; it seems (or so I was told) that if you stored them on their sides, the ribbon sagged and ruined the mike. |
This is very good advice to follow with most of your bigger ribbon mics; i.e. Coles, RCA, AEA, Shure, even Royer’s and B&O’s. Them ribbons are light little buggers, and under some tension, but the way they hang in their magnetic field is most important. Anything that changes that, or the tension they are under, is bad news in the long run. I keep all my ribbons vertically on stands, just to be safe…
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| Anyway, I recall when as a young innocent trainee at Ally Pally being told, “Don’t be so f***ing clumsy with that mike lad! It’s worth ten times as much as you, and it’s a hundred times more useful!” (Both statements undoubtedly true). |
That’s a good one.
Completely OT but I had my first date with the woman who was to become my wife at Ally Pally (firework display). I also remember driving a Sinclair C5 up there too some years before that. Never heard of ribbon mics then.
Thanks for the info on Ribbons guys. Useful.
Mark
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| Completely OT but I had my first date with the woman who was to become my wife at Ally Pally (firework display). |
Your wife to be was called Firework Display?
Not surprised she was in a hurry to marry and change her name.
Only kidding.
Yeah, I was only at Ally Pally a few years, then we moved to TVC at Wood Lane, but I have fond memories of it.
C5! Ah! So you’re the person who bought one!
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| C5! Ah! So you’re the person who bought one! |
Nah. Just drove one at an exhibition. Wish I had bought one though. Might be worth something now… I’m just off to check Ebay…
EDIT: last 4 or 5 went for between £150 and £400.