Cheap Ribbons

Recording Engineer · Post by **Recording Engineer** » Tue Mar 04, 2014 8:28 am

Thinking of picking up a pair of cheaper ribbons. Really, cheap is not the main requirement, but something not the typical AEA, Royer, Coles, Shure, or Beyerdynamic. I don't have much of any experience with the other brands and would like a pair to get into. So looking to you guys to help narrow the many other options out there.

Primary use would be drum overheads and drum rooms. Secondary use electric guitar. Third, leslie and brass.

JWL · Post by **JWL** » Tue Mar 04, 2014 8:30 am

I've gotten more mileage out of my Nady RSM-4s than just about any other microphone, dollar for dollar. I've seen them for less than $60 each.

digitaldrummer · Post by **digitaldrummer** » Tue Mar 04, 2014 8:47 am

agree the Nady's are pretty good. I like the RSM-2 for a lot of things. I have a pair of Cascade Fatheads and a Vinjet all with the Lundahl xfmr upgrade and they are all really nice too for a little more money. I also have an "NSonic" branded ribbon that looks like the Nady RSM3 (no longer sold) and I've used that on guitars so many times with great results.

Mike

vvv · Post by **vvv** » Tue Mar 04, 2014 12:53 pm

I have a NOS R2 what is just one of the Apex/Nady's sold by JRR Music, and love it.

Then I bought a pair of R144 MXL's, and love those, also! And under US$100, especially used (I bought mine new around US$90?).

Just the thing for a old-time vibey belted vocal, but I use them most as room mic's for guitars and drums, lately thru a old Altec 1589b but even just on my Zoom R16.

I highly reco stripping a layer of mesh from the head basket (needle-nose pliers, be careful), and throwing some scrap cloth in the body for dampening, right after you make sure the ribbon is properly tight.

I also have a Beyer (I know, you said ...) M500 and it's very cool on vocals, especially on BV's because it is smoove and dark and tends to sit behind the lead nicely, and blends well for group BV's.

jgimbel · Post by **jgimbel** » Wed Mar 05, 2014 8:46 pm

A producer who records drum tracks here every once in a while threw in an Apex 205 with his last payment a few weeks ago. I was recording some guitar tracks the following day and decided to throw it up in addition to what I was using (SM57 on a Deluxe Reverb), and man does it sound good. I've still got a pair of 4038s on my list for the future but there are definitely things the Apex will cover that I couldn't do easily before. I've used it a handful of times on guitar since then, and it hasn't fit everything, but when it does it's really gorgeous. I've heard the "condenser mixed with a dynamic" comparison before about ribbons in general, and I definitely get that. It's got it's own kind of thing though, there's this organic kind of thing going on. I try condensers on guitar cabs every now and then and always just feel like it evens things out in a way I don't like for most things. Dynamics (moving coil) are the opposite, which I usually like, and the ribbon is kind of like that but the specific way it deals with dynamics of a performance is something special. Of course that's probably talking as much about ribbons in general as this specific one. All I know is I really love this one and I'll be holding onto it. I do know the guy who bought it had to buy a couple and return them until he got one that didn't have ribbon sag though, but most people I know who have bought cheap ribbon mics new have had to do that.

digitaldrummer · Post by **digitaldrummer** » Thu Mar 06, 2014 7:51 am

I think that is one nice thing about the Cascades. so far I have not seen one with ribbon sag since that is one of things they claim to check before you get them... most of the really cheap ribbons are just imported and passed along. and you take a chance.

I did try my hand at stretching a couple early on but they are really delicate and if you screw it up... toast. so the slight premium for say the Cascade Victor (which you can find pretty cheap if you look around) might be worthwhile vs. a Nady or non-name brand.

http://www.bhphotovideo.com/bnh/control ... &A=details

btw, I've got an R84 too and while I have not placed them side by side in a scientific test, the RSM-2 and the Vinjet sound really similar to me so far. but I'm not ready to get rid of the R84 yet... when time and budget don't allow for experiments, I know I can put the R84 in front of a saxophone and it will be completely awesome.

Mike

vvv · Post by **vvv** » Thu Mar 06, 2014 1:31 pm

I figured out a way to adjust the sag that has worked well for me a couple of times.

Get the headbasket off so you can see the motor; the ribbon on all I have seen is fastened by a clamp at each end, held with a screw on each side.

Loosen the screw and carefully take off the clamp (make sure the ribbon is not sticking to it); one end inevitably has ribbon all the way to the outside edge of the clamp so you might have to try each end, but if you look close you might be able to see that before dis-assembly.

Using a piece of barely-sticky masking tape (stick it on your thumb a few times to wear some glue off), attach it to the very end of the ribbon.

Pull it straight and tight enuff to not sag, but not stretch the corrugations, and press the masking tape down to hold it in place, and so the tape is not where the clamp sits. (You could probably just leave the tape on if necessary, but I haven't had to.)

Re-clamp and then re-assemble.

drumsound · Post by **drumsound** » Thu Mar 06, 2014 9:59 pm

I've gotten a ton of use out of my TOMB group buy ribbons, which I believe are the same as the Nady RS*.

JWL · Post by **JWL** » Fri Mar 07, 2014 1:30 pm

If I'm not mistaken the TOMB ribbons were an iteration of the "Long Ribbon Short Path" mics Michael Joly describes in this reference guide:

http://recordinghacks.com/2008/11/01/ch ... e-designs/

It's the same style as the Nady RSM-2, the Shinybox 23, and the Apex 210.

drumsound · Post by **drumsound** » Fri Mar 07, 2014 4:12 pm

JWL wrote:If I'm not mistaken the TOMB ribbons were an iteration of the "Long Ribbon Short Path" mics Michael Joly describes in this reference guide:

http://recordinghacks.com/2008/11/01/ch ... e-designs/

It's the same style as the Nady RSM-2, the Shinybox 23, and the Apex 210.

That seems right.

timh · Post by **timh** » Sat Mar 08, 2014 12:05 pm

Just placed my order for a Vin-Jet with Lundahl. I couldn't pass up the B-stock special going on right now. I'm crossing my fingers hoping I won't be disappointed.

Neal · Post by **Neal** » Mon Mar 10, 2014 6:17 am

Another +1 for the Cascade Fat Head. I've used mine on amps, OH, orchestra with no problems.

Toni P · Post by **Toni P** » Sun Mar 23, 2014 3:31 am

When the words good, cheap and ribbon come up in the same sentence

I always recommend taking a look at the ShinyBox 46MX

drumsound · Post by **drumsound** » Sat Apr 05, 2014 9:45 am

I was part of a mic shoot out at Webster University recently and I found the sE X1R pretty impressive for $199.

honkyjonk · Post by **honkyjonk** » Sat Apr 05, 2014 10:22 am

I should chime in and give Michael Joly a plug for re ribboning my Apex 205 (w/ closer to a Coles style ribbon thickness) I replaced the transformer, as well, with a Cinemag, but the ribbon change makes a much bigger difference, imo. It's more sensitive and extended up top.

I destroyed my ribbon trying to stretch it, but I'm sort of glad because it forced me to get a new one.

There might still be a thread on the purple sight about some modified Apex 205's vs. Coles on piano that had some good samples.

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