Need a second ribbon mic for drum room mics

[SLy_drums]

I already have an R121 but I'm definitely looking for a second ribbon mic to use the pair as drum room mics.
The R121 takes EQ and compression in a very "glueing" effect, and to me, that's what is the secret of the ribbons used as room mics.
I also use the R121 on guitar cabs and it works very well.

I first wanted to buy a second R121 but they are expensive, and even if a pair would be great, it would not add a new flavor to my mic set.
I'm interested into the AEA R84 because it's a legendary microphone. Anyway I wonder if using my R121 and the R84 as a room mic pair would work (each mic facing the drumkit, 4 meters in front of it, one on the left, one on the right... that's how I imagine to use a pair of room mics).
What do you think ?

[warhead]

I use my R84 all the time as a single room mic, it delivers.

War

[Fletcher]

I like using dissimilar microphones for "stereo" events... I find it makes things sound larger without taking up too much real estate when you get to mix time.

As always, YMMV.

[Blacky]

Originally Posted by SLy_drums

I already have an R121 but I'm definitely looking for a second ribbon mic to use the pair as drum room mics.
The R121 takes EQ and compression in a very "glueing" effect, and to me, that's what is the secret of the ribbons used as room mics.
I also use the R121 on guitar cabs and it works very well.

I first wanted to buy a second R121 but they are expensive, and even if a pair would be great, it would not add a new flavor to my mic set.
I'm interested into the AEA R84 because it's a legendary microphone. Anyway I wonder if using my R121 and the R84 as a room mic pair would work (each mic facing the drumkit, 4 meters in front of it, one on the left, one on the right... that's how I imagine to use a pair of room mics).
What do you think ?

HI! There is a fantastic thread from SHAMAN (Germany)
Room mic's from "t bone"
http://gearslutz.com/board/showthrea...shaman+thomann

[tmcconnell]

It depends on how you need the mic to fit the bigger picture. I use the 122 as a drum overhead constantly. It smooths those often brash badly hit brass sounds particularly HH that so many drummers manage to get but not at the expense of other high end. I tried my r84 (which I love for many applications) as a second overhead, and I felt I lost too much air from the brass - and introduced a lot of mud from the kick which I then have to roll off. The attribute that the r84 is great at for drums imo is getting that tubby sound from a tom. I might also use it as a mono overhead in a huge open room when the noise coming in the back would be wonderful, in a jazz setting where the "vibe" is totally warm - but I'm speculating. I know some people like the r84 as an overhead - but my logic is that the high end from the brass is often the only real air in a recording - and the r84 is down quite a bit by 15k - so I lose my best chance to capture that airiness with an r84 overhead.

[Dan]

I just tried a Coles 4038, with a 414 (in omni) as a mid-side room mic. That was a pretty cool sound! Plenty of top, with that mid-range smoothness.

[firby]

I have been using beyer m160 s for overheads. I think with ribbons it depends on your room for the overhead application. I have the shinybox/alctron/nady/apex ribbon mic and I really really like it for the dough. If you really are going for room mics rather than overheads you cant miss for the price the apex 205s are going for. They are like 120 dollars. If you need the refinement of the mics for a stereo thing then I understand.

If you have two figure 8 mics and a nice room you could do blumlein config like bruce swedien. I have never tried it but his drums sound great.

The beyers are hypercardioid, if you are looking for a different polar pattern.