Beyer M160

pulse_divider · Post by **pulse_divider** » Sat Feb 04, 2006 8:08 am

I've been wanting one of these for quite a while and just finally had the cash to get one. BTW, they are available new on Amazon.com thru Full Compass for $430 shipped, which is about 30% cheaper than anywhere else, and cheaper than used ones go for on Ebay.
This mic is great! I used it last night thru a UA 2108 to mic some guitars/bass/Rhodes and it totally shone on all sources. I just stuck it about 18 inches in front of the cabinet (Titano 280 (i.e. rebadged Magnatone) for gtr/Rhodes and Vampower 4x12 for subdued low bass) and it sounded perfect every time, no adjustments necessary. I love the fact that it's a hypercardioid and it can be placed well away from the source (I'm a fan of "letting it breathe") without picking up other stuff. I record in a basement where the metal air conditioning ducts rattle on loud bass and it rejected all the incidental noise really well.
I can't wait to try it on snare, though I think it's gonna rule on most any source.
Anyone have any tips or areas where it shines as a secret weapon?

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sat Feb 04, 2006 9:59 am

oooohh i might be a little iffy about using it on snare...
depends on how close its gonna be..

drum overhead/rooom = really nice..
heard its a champ on some vocals too

and horns..ribbons love horns

cgarges · Post by **cgarges** » Sat Feb 04, 2006 10:54 am

I've only tried it on snare once and it didn't do a thing for me. I know Tony Vosconti has used it on snare on soem Bowie stuff, but it just wasn't happening for me.

It is a fantastic and versatile mic, though. I love it on electric guitar amps, acoustic string instruments (it's excellent on dobro and sometimes mandolin), and on a drum kit as an overhead or ambient mic.

Chris Garges
Charlotte, NC

Mix413 · Post by **Mix413** » Sat Feb 04, 2006 11:12 am

It's superb on guitar amp. One of the all time great mics.

Paul Fury 161 · Post by **Paul Fury 161** » Sat Feb 04, 2006 11:49 am

Hi all,
I think the M160 is really nice on snare, unfortunately the one session I used mine on Snare, it was too close and i blew the capsule after three takes. Luckily take three was the keeper;-p

Cool Mic. Don't think you'll regret buying it - must get round to replacing mine, really miss it!

Take it easy,
Paul Fury 161

ulriggribbons · Post by **ulriggribbons** » Sat Feb 04, 2006 1:34 pm

For what it's worth, I just re-ribboned an M160 that was used on snare, so be carefull about how close your gettin it... I bet it sounded brilliant for about 20 seconds =)

ju

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sat Feb 04, 2006 1:39 pm

anywhere from 1' to 12' infront of of the kit will get great drum sounds
don't put the fuggin thing right on the snare..
thats why god invented the Unidyne...

pulse_divider · Post by **pulse_divider** » Sat Feb 04, 2006 3:18 pm

I was thinking that since it's a hypercardioid, I could put it up a ways from the snare, but the more I think about it the more I realize that it's just not gonna work. It does seem to have good rejection, though, I couldn't hear any "air duct rattle" when I used it on bass.
Thanks for the tips. I think it's already my favorite mic I've used on guitars, it's just completely effortless to get it to sound good. I'm gonna have to try in front of the drumkit. Just curious, though, I've never used hypercardioids as overheads before. I'll fool around with placement and judge with my ears, of course, but is it much different than the usual suspects or do you have to adjust the placement much?

r0ck1r0ck2 · Post by **r0ck1r0ck2** » Sat Feb 04, 2006 3:44 pm

i mean it would work...
but ooohhh soo dangerous..
and you just got the bloomin thing....
think how heartbroken you would be...

as to placement...

put it in the room...you'll be oh soo happy...

stubenbaines · Post by **stubenbaines** » Tue Feb 07, 2006 7:03 am

Thanks for posting your thoughts on this mic. I was wondering if there is a big difference in the sound between a new M160 and a vintage one from the 60s?

Have they kept the specs pretty much the same or do people like the older ones better? This will definitely be the next mic I buy, but I get nervous about buying an old one on ebay just because I've heard that old ribbon mics can be dicey.

ulriggribbons · Post by **ulriggribbons** » Tue Feb 07, 2006 8:52 am

I can't comment as to sound differences old vs. new, but buying old ribbon mics without the plan of having the ribbon checked/replaced is definately dicey.

Often ribbon microphones will still pass signal, but the ribbon can be stretched beyond belief, meaning the microphone is not performing "as new".

Regards

ju

bannerj · Post by **bannerj** » Tue Feb 07, 2006 9:17 am

so...if you can't put it close to the snare how close can you put it infront of an amp...and I guess you will need to be real careful how loud you run the amp too? Sometimes it helps to get the amp to the screaming point to get the tone I want, but sometimes it isn't necessary...any specific suggestions on how to be careful?

I really want one of these beyers. is the 160 the first one to get? I was thinking about starting with the 201. It is supposed to be versatile

Coco · Post by **Coco** » Tue Feb 07, 2006 9:30 am

stubenbaines wrote:Thanks for posting your thoughts on this mic. I was wondering if there is a big difference in the sound between a new M160 and a vintage one from the 60s?

Have they kept the specs pretty much the same or do people like the older ones better? This will definitely be the next mic I buy, but I get nervous about buying an old one on ebay just because I've heard that old ribbon mics can be dicey.

They are the same except the new ones have XLR and not a Teuchel type connector. new ones are cheaper than an old scetchy one as well. I see vintage ones go for $450 on evilbay all the time. Suckers. No one realizes (except the poster of this thread) Full Compass sells them for only $419 + shipping.

pulse_divider · Post by **pulse_divider** » Tue Feb 07, 2006 9:33 am

fum wrote: Often ribbon microphones will still pass signal, but the ribbon can be stretched beyond belief, meaning the microphone is not performing "as new".

This happened when I bought an M-260 off Ebay last year. It works but doesn't sound very good. Eventually I'm going to send it to Stephen Sank but bought the new 160 as an immediate replacement and am totally happy.
As far as putting it in front of an amp, I've just been following the "put your hand in front and feel for air" rule and have been using it on *really* loud amps. But the fact that it's a hypercardiod means I can put it 12 to 18 inches back from the speaker where it sounds best to me and it doesn't pick up anything else. Much safer for the mic, too.
Are there a lot of directional ribbon mics? I don't have the best sounding basement so often a figure-8 mic picks up too much crappy room.

hyde maintenance · Post by **hyde maintenance** » Tue Feb 07, 2006 11:25 am

Ok, so I just picked up an old M260 for like $30 that had the grill beat to death. I assumed that it would need a reribbon because of some obvious abuse (the guy also sid he used it almost exclusively on kick). So I get home, pop the dents out, try it out on voice and am convinced it's pootched. All muffy. But later I A-B'd it with a bunch of mics 6 feet in front of my drum kit, waist height and actually quite liked it- like more than the 441 in the same set up. Now I'm thinking it's good.
Are these things super susceptible to proximity effect? Maybe that was the basis of my initial reaction.
And when can you really tell the ribbon is done (besides when it goes poot)? I guess I need to hear a fresh one.

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