Nice funky strat playing!
I have many ribbons as well. In one sense, there are two different kinds of ribbon mics: ones that are basically large-ribbon, figure-8 pattern mics (although some of these like the RCA 77, Altec 639 etc. have various methods for getting a cardioid pattern if desired), and those that are more intended for directional close-miking such as the Shure 330 and the Beyer mics.
The latter wouldn't pick up a room with as much breathing space in the sound or as much bass, of course.
I'm a drummer, and it could be that my ears are somewhat fried, although it's not like I've played heavy metal for years (hardly ever in that style, really).
To me, it seems that most of the ribbons in the first group, ones that are intended to give a faithful, more-or-less large-ribbon figure-8 pattern, all sound *roughly" the same as long as the amp load/impedance is matched well.
The Altec 639s have thinner ribbons than, say, the Royer R-121, so their sound is a bit more delicate and detailed and with a really warm silky bottom end,, however, the frequency response is not nearly as flat as a Royer. Also, the 639's transformer shielding is poor, so at times it's impossible not to have an unacceptable amount of hum from the mic. But usually changing the mic's position can fix that. A well-positioned 639 sounds delicious indeed.
This is a really nice mic test (the three Strat files).
The Beyer with the RCA ribbon sounds the best to me, offhand.
Of course, ribbons take LOADS of EQ and still sound great because they are such low-distortion entities, so it could be that tweaking the Royer for more treble would sound as good as or better.
However, a thinner ribbon element usually translates, of course, into more detailed sound.
I don't have the time to look it up now except this thread is interesting: http://www.greenspun.com/bboard/q-an...?msg_id=006FJy
The Royer R-121 is built to be a more rugged ribbon mic, and (I'm 99% certain) uses a thicker ribbon than perhaps even the Nady RSM-2, and certainly thicker than say a Coles 4038 or an Altec 639. This translates into not quite as natural and stunning sound.
The Altec 639 is nice because they built it so that it can take some light outdoor wind (according to some original mic literature) which kills most ribbons (there are pictures of Little Richard singing through one at an outdoor stadium concert), however, the sound is still very detailed.
Anyway, I hope this half-conscious rambling from a drummer is perhaps somewhat helpful.
Maybe there have been many ribbon mic shootout files posted.
What I can do, if I get the time, is put the following mics through what should be pretty identical-sounding channels of my 8-channel True Audio Precision 8 mic pre:
Altec 670 (not as much high end, I can tell you, but very warm sounding, great for things like making vibraphone sound vintage)
Oktava's ribbon (forget the model name offhand)
and I can record a drum kit about 10 feet out, where you would get the kick drum for bass, snare and cymbals for high-end, and the whole kit for an idea of how the mics pick up an acoustic instrument (well, some might put quotes around "instrument" for a drum kit depending on the music you're into, but it does generate all frequencies, that's for sure).
One problem of course is that in that application, any ribbon mic is almost certain to need significant EQ not to sound very mid-rangy, so I could post the original files, and then files where I EQ'd to my taste to make it sound more or less "flat" to my ears.
Another problem, again, is that this all may have been done before, and how much time do I have, but it would be interesting and fun.
Another problem is that I wish I had a genuine RCA 44, or 77, or a Coles and an AEA to add to the mix, but, those are a bit too pricey for me to justify for my uses now.
One cool thing is that stereo really opens up the sound field (wow...what a painfully obvious statement) and, for the following mics, I can do a stereo recording of the drum kit as well:
Nady RSM-2 stereo pair
Nady RSM-1 stereo pair
Altec 670 stereo pair
Altec 639 stereo pair
Royer R-121 factory-matched stereo pair
Beyer M-500 stereo pair (this is a ribbon vocal mic but also good for close-miking things, would just be for comparison, would not be a great drum room mic except for perhaps a special effect)
Beyer M-260 stereo pair (I think I have the model number right here)
Oktava's ribbon model, stereo pair
Of course for this many channels I'd need to have two different drum performances recorded in order to get all channels going through the True Audio Precision 8 (sixteen channels total).
The True Audio Precision 8 has high enough input impedance to be very good on ribbon mics, and the rest of its specs come close to the "wire-with-gain" ideal (well, if you're looking for UNcolored sound):
Gain (microphone): +16 to +64 dB
Gain (direct input): -4 to +44 dB
Frequency Response (gain=40 dB): 1.5 Hz to 500 kHz (+0/-3 dB)
Maximum Output Level: +31 dBu
Maximum Input Level: +15 dBu
Input Impedance (microphone): 5.5 kOhms
Input Impedance (direct input): 2 Mohms
Noise (Rs=0 Ohms): -132 dB e.i.n.
Slew Rate: > 40 V/uS
CMRR (CMV=+10 dBu): 85 dB
Crosstalk: -130 dB
THD (+26 dBu, 100 kOhm): .0008%
Power Requirements: 120VAC, 60 Hz, 44 Watts
W=17.4 in. (442 mm)
D =13.4 in. (341 mm)
H =1.74 in. (44.2mm)
Knob extension: 1 in. (25.4 mm)
Weight: 14.5 lbs. (6.6 kg)
If anyone is just dying for a post like this (the sound files) do let me know and I can try and do it, it would be fun. Otherwise (as I suspect) there won't be huge interest but I'll still try and do this when I can.
I'm just a semi-pro, half-baked drummer and recording engineer so take this all with a big grain of salt (if you couldn't tell already). My recordings that focus on drum kits if and when I get to them won't have quite the same perspective as someone who records oboes, flutes, violins, and "things like that," eh...
best to all