I don't need another ribbon...or do I?

[digitaldrummer]

inspired by the "3 core mics" thread and a quote by Trodden...

so yeah, I feel the same way. I have read great things about the Coles mics but honestly have never used one and I already have a shitload of ribbons.... so do I really need one (or a pair)? maybe... here's what I do have...

Nsonic NS-1 (like a Nady RSM-3,with the offset ribbon and was discontinued probably due to lawsuits...) - I use this on guitar cabs all the time
Nady RSM-1 (dark and wooly and I think I left all the inner mesh in on purpose on this one) - cool for a bluesy/old-time vocal
Pair of Cascade Fatheads (gold and brown) with the Lundahl xfmrs
Cascade Vinjet (chrome) with the Lundahl xfmr
Pair of Samar Audio AL95's (now these are something you need to check out - so natural sounding - like a condenser without the crispy high-end. I love them on acoustic guitars)

I know there are a ton of other low-cost ribbons out there (like the sE). I used to have an AEA R84, which was a great mic, but I felt like the Vinjet could do the same thing at 1/3 the cost. what are you using?

[standup]

I like ribbons.

AEA R92 lives on a Swart guitar amp. Beyerdynamic m160 is with Beyerdynamic for repair (it was sounding tinny, not much response below 150 hz). I’ve had one Stager SR-2N for a couple of years, and have been liking it on drums more and more — using it fok (not close) or aimed at the snare shell from 2’ away. Yesterday I got the stereo version of the SR-2N to put over the drum kit, and now can move the mono version around as needed.

I have an ART ribbon (shaped like a fathead) with a blown ribbon, and some ribbon material to make a new ribbon, but have been avoiding that project successfully for a couple of years.

[trodden]

Dilemmas!!!!!!!!!!

I'd LOVE to have a pair of Coles 4038's.. that would be the be all end all, of microphones of all types for me. I don't have a super fancy LDC, only a CAD e300, AT4047, and GrooveTubes MD1a. But I don't think I need anything more than that for the music I record.

However, a pair of Coles, fuck me, that's something I could use for so many things. But we're talking 3k for the pair. I need a Vespa scooter and a Vz.58 before spending that on a pair of mics.

So like in the other thread, those sE VR1's are looking pretty cool, a pair definitely. I have 4 421s, do I need four 421s? probably not. But the second I sell a pair, I'm going to wish I had four 421s.

I love my three ShinyBox ribbons. Definitely keeping those. Same with the ML-52 and Beyer 201. Michael Joly modded my TOMB ribbon, so it's pretty cool sounding.

Why do I need a pair of ribbon mics then? Fuck if I know.

[losthighway]

I have a pair of Cole's, but I started with a Cascade and an M160. The Cole's are among the more exciting gear acquisitions to put to use and hear results from.

When I get mics like a 4038 there is definitely a financial process and some rationalization. I don't have tons of disposable income and my studio is a side hustle that doesn't earn significant dough. But (the big but) is that I've been engaged with the recording arts for two decades and probably will be for as long in the future. It's an elevated hobby, I rarely spend money on guitar gear and I don't buy other stuff really ever.

So I've stopped buying "surprisingly useful for the price" pieces. I rarely buy anything. Instead I save for as long as it takes to buy something that might contribute to a shift in my ability to capture music. Most of my "recent" mic acquisitions were at least a year apart. I'll never get a U67 this way (it would take me 15 years of saving) but it's very slowly gotten me a mic locker I can feel confident about and most importantly enjoy using.

[trodden]

I have a pair of Cole's, but I started with a Cascade and an M160. The Cole's are among the more exciting gear acquisitions to put to use and hear results from.

When I get mics like a 4038 there is definitely a financial process and some rationalization. I don't have tons of disposable income and my studio is a side hustle that doesn't earn significant dough. But (the big but) is that I've been engaged with the recording arts for two decades and probably will be for as long in the future. It's an elevated hobby, I rarely spend money on guitar gear and I don't buy other stuff really ever.

So I've stopped buying "surprisingly useful for the price" pieces. I rarely buy anything. Instead I save for as long as it takes to buy something that might contribute to a shift in my ability to capture music. Most of my "recent" mic acquisitions were at least a year apart. I'll never get a U67 this way (it would take me 15 years of saving) but it's very slowly gotten me a mic locker I can feel confident about and most importantly enjoy using.

Totally.
Been doing this on and off for the last 25 or so years, you'd think I would have eventually saved for a pair, especially since i've been lusting for them for at least 20 of those years. I do have my pair of BURL B1d's finally. So it is possible.

[permanent hearing damage]

I have a shit ton of ribbons but the ones I use the most are my modded Apex 205s (have 3 Joly modded and another pair similarly modded). I have heard these can sound comparable to 4038s, but haven’t been able to compare, admittedly. Sometimes I bust out my m160 or my Stager SR-2N. I have used Royer 121s on occasion and truly don’t see what the fuss is about. I used an RCA BK5 at a studio once and that thing was cool, but I also didn’t have much to compare it to at the time.

I have another pair of Joly modded RSM5s, a Sank modded MXL thing and an M500 (this was my first).

Much as I would love a Coles (or a pair!), I don’t know if I would use it enough to buy one. I’ll prob buy one eventually but I’ve been in a deep love affair with fancy tube mics lately.

To the OP: Based on your mic locker, I’d give the Stager SR2N a shot. Especially since you can buy them at guitar center and make use of their sales to buy em.

Also, I’ve seen matched 4038 pairs for just a smidge over $2k from a bunch of British companies (really kicking myself when the pound took a dive a couple years ago - prob coulda got them for like $1700 or something crazy).

[digitaldrummer]

To the OP: Based on your mic locker, I’d give the Stager SR2N a shot. Especially since you can buy them at guitar center and make use of their sales to buy em.

I've read the gear reviews in TapeOp and they definitely got my attention, but back to the topic title... lol

[A.David.MacKinnon]

I have a very old RCA Varicoustic that I love but it could really use some love and a refurb. It's makes a killer overhead and I love it on horns and acoustic. Sometime vocals with the right singer.
I have an Apex 205(? I think?). The smaller bodied one. I pulled the extra mesh out of it and it's OK. Not amazing but good and usable enough that I've hung on to it. Weirdly it has the most massive low end of any mic I've ever owned. I almost always have to roll a bunch out.
My go to ribbon these days is a Reslo with the Beeb mod by Stuart at Exaudia. It's fantastic which is really saying a lot because it was basically useless before the mod. OH, horns, room mic, ac guitars, vocals, whatever. It sounds great.

[Jitters]

I just have an m160, and I'm torn between getting another one or getting an m130. I suppose the m130 would offer more options, but the two m160s might be nice for drums overheads. Then again, m260s on s jecklin disc in front of a kit is probably pretty sexy too. Haha, now I remember why I stopped reading these boards.

[trodden]

To the OP: Based on your mic locker, I’d give the Stager SR2N a shot. Especially since you can buy them at guitar center and make use of their sales to buy em.

I've read the gear reviews in TapeOp and they definitely got my attention, but back to the topic title... lol

Dammit.

. Haha, now I remember why I stopped reading these boards.

[Recycled_Brains]

The Stager is cool, but often can sound kinda weird to me I don't know how to articulate it, but there's such an intense midrange to them. Honestly think they're a little overhyped, but that's me. Terrible shockmount too. ha.

I had a Shinybox once and wish I never sold it, because they are really great.

but the Coles are like holy fucking shit when you put them up. OH's and room is where mine get the most use, but if you can use one on an amp it's incredible.

There's definitely a reason they are so revered. I liken hearing them for the first time to when I first heard a well cared-for U67, or running every mic in my session through a vintage Neve console. Really beautiful mics. I don't regret that purchase at all, and honestly would sell just about every other mic I own before I sold those. I'm sure you could ballpark them with other mics, but why? If you can wrap your head around the cost, get the best.

[emrr]

As I get more and better ribbons, the lesser/cheaper fall into disuse. Then I realize, when something needs a re-ribbon, if it's a cheap mic it's not worth the investment, get another and that costs something more than a re-ribbon usually, by some amount. Something more expensive, it makes sense to re-ribbon, the ongoing maintenance is cheaper than the cheap ribbon.

[vvv]

+1 on the Shinybox (23L); I also like the CAD Trion 7000 as one of my better ribbons (I use 'em pretty much just for room mics), altho' it's pretty inexpensive.

[joninc]

I'm a sucker for ribbons and own a growing pile of em... Love them on drums and spiky sounds for mellowing harshness and rounding out...

Digital recording is amazing but very pristine so I find using more ribbons and dynamics can really help soften
the texture of a lot of sources and help create contrast with stuff you want to be airier - like lead vocals etc.

They can be a A little trickier to use on a quiet sources so a cloudlifter type booster is recommended.

I started out with a cheapo apex ribbon which was fun - but it's sound was more like a lofi smear of the source
here actually nice ribbons can have a very nice clarity and hi fi quality to them

my collection:

AEA N22 is awesome on guitar amps... actually sounds pretty great on outside kick and snare top too.

M160 is great on acoustic, guitar and bass amps, hi hat, snare (careful) and various other stuff that needs a upper mid focus.
Some vocalist sound great on this and piano is good too.

coles on drums (and sometimes guitars - electric and acoustic, banjo, horns, some vocals) - THICK!

AEA R44 on anything - can be a bit intense around 1 k so beware

getting to know a RCA77d - my most recent acquisition - loving as a mono overhead, banjo, archtop acoustic,
amazing wooly upright bass this week! great on a baritone singer that had been tricky to get a focused sound on with only condensers - looking forward to using more on electrics and drum room too.... I'm sure it was be amazing on horns too

have fun!

[Recycled_Brains]

I just have an m160, and I'm torn between getting another one or getting an m130. I suppose the m130 would offer more options, but the two m160s might be nice for drums overheads. Then again, m260s on s jecklin disc in front of a kit is probably pretty sexy too. Haha, now I remember why I stopped reading these boards.

I was just re-reading this post...

I always advocate for getting pairs of everything. I wish I had pairs of every mic I own. Having one of each would obviously be awesome, but then you're sort of locked in to certain setups if you're going for a true stereo configuration of some sort. If you're unlike me and your on-the-spectrum vibe doesn't make you thoroughly hung up on symmetry, then I say go for it if you have other solid choices for a spaced pair or XY or whatever. I've really fallen in love with MS mic'ing the past couple of years too, so I wouldn't discourage having that be your thing at all. It's probably my favorite current room mic setup. I should really try it for OH's too.