Ribbons

[papawhitehead]

I'm looking to get a few ribbon mics for my studio. I originally was thinking about a Royer r121 and an AEA R88. I've done a lot of reading about the need for a high gain preamp for these mics. This makes me think about getting a matched pair of R122s instead. That way I can use them for overheads and then use one of them for guitar or whatever else I will be overdubbing. Does anyone agree with this compromise? Also, does anyone make a stereo mic shock mount or holder that will allow for easy Blumlein configurations? Thanks for your time.

[Brad Lunde]

Originally Posted by papawhitehead

<SNIP> Does anyone agree with this compromise?
Also, does anyone make a stereo mic shock mount or holder that will allow for easy Blumlein configurations? Thanks for your time.

Stereo pairs do offer more flexibility but sacrifice closer element mounting. Cancellation and lobing will reach into lower freq's on a stereo pair than a stereo mic because stereo mics can get the elements much closer together (in the same physical housing).

The wider the spacing between mics, the more phase problems you will have. These problems are not removeable; many hours can be spent trying to fix it in the mix. Try summing the two together during set up and you can hear the phase issues easily. With stereo pairs and a very distant source, the problems are less noticeable than with a very close source. Try X/Y with closer sources.

There are stereo bars from a number of sources; we do the Sabra Som, but AEA has some, AKG, etc. With the sabra you can also use two SSM1 shock mounts on the stereo bar and have dual shock mounts. Here's the page on that:
******//www.transaudiogroup.com./sabra_som.shtml
I like the Sabra because you can slide one mount off the hex bar and slide it back on updside down, below the bar, so you can do close X/Y as well as spaced pair the regular way.

If you like Blumlien, look into a SoundField. Its something you need to know about if you like stereo micing. Some consider this design a "super Blumlien" design and where he might have gone had he lived longer.

Brad

[Twisted Tones]

I don't know the 88 at all, but for drum OH's and electric guitars I've never had any output level issues with the 121's.

[murp]

Originally Posted by Twisted Tones

I don't know the 88 at all, but for drum OH's and electric guitars I've never had any output level issues with the 121's.

Right on - I usually have to pad the inputs on my API 3124+ when micing guitar amps with the 121.

[Jim vanBergen]

What mic pre's do you already have? Is one potential for this mic? Do you have the $$ to also buy a mic pre from AEA specifically for ribbon mics? I often use Earthworks 1024 pre on my R84 and it is SMOKIN'. Plenty of gain for 90% of everything, most noticeable 'not enough' was classical flute at 6'. I also have a Geoff Tanner Aurora GQ2 which has MORE than enough gain for quiet sources (such as concert harp).

For any AEA or Royer mic, a basic preamp with 55-60dB of gain (pretty standard) should be PLENTY for miking guitar cabinets or drum OHs. The best thing to do is to demo the mic by utilizing the preamp you will use with the mic you want to buy.

[papawhitehead]

Originally Posted by Jim vanBergen

What mic pre's do you already have? Is one potential for this mic? Do you have the $$ to also buy a mic pre from AEA specifically for ribbon mics? I often use Earthworks 1024 pre on my R84 and it is SMOKIN'. Plenty of gain for 90% of everything, most noticeable 'not enough' was classical flute at 6'. I also have a Geoff Tanner Aurora GQ2 which has MORE than enough gain for quiet sources (such as concert harp).

For any AEA or Royer mic, a basic preamp with 55-60dB of gain (pretty standard) should be PLENTY for miking guitar cabinets or drum OHs. The best thing to do is to demo the mic by utilizing the preamp you will use with the mic you want to buy.

Right now I have a Midas Venice, Avalon 737 & Focuswrong Voicemaster poo. I will be selling the Avalon and Focusrite to help buy an API 3124. I'm thinking I'll go with the R88 and a R121. Thanks for the info.

[john caldwell]

Regarding preamp gain, I agree with the above notion that contemorary pres (which offer 50 to 63 db of gain) are more than enough. Taking it a step further, I'll offer that I mic acoustic guitar with AEA R84 and Beyer M160 ribbons using Avalon 2022 and True System Precision 8 preamps. Gain is more than adequate for micing distances less than 2 feet, and mind you, I rarely record bashers. Recording drum oh and amps will have you padding down your signal with regularity.

Having said that, I see no harm in considering a R122 pair. I bought a single R121 for the principal purpose of micing guitar amps for a chewy distorted sound and it's working well for that use. I don't like the R121 on acoustic guitar (in comparison to the R84 and M160), but gain isn't the issue as much as the character is. The R122, from what I've read, may be a more versatile unit that is the R121for reasons of gain and sound character.

Best,

John-

[analogjeff]

When we bought a 121 a few years ago, we A/B'd it with the 122 and we thought the top end of the 121 was a bit warmer/smoother, which was a good thing for our purposes... The 121 does require some decent gain, and some newer pres we tried at that time didn't really have enough. But, lots of pres do just fine -- I recommend pres that allow for a boost of 60 or more. We use a Phoenix DRS-2 and a Chandler TG2 and really like both with the 121.

[Igotsoul4u]

This makes me think about getting a matched pair of R122s instead. That way I can use them for overheads and then use one of them for guitar or whatever else I will be overdubbing. Does anyone agree with this compromise?

I would hardly call a matched pair of royers a compromise. They are some of the best sounding and versatile mics you can buy. They will be your goto mics for many different appilications. The especially rule for guitar and overheads which you said was your main purpose for them. You cannot lose.

[papawhitehead]

Originally Posted by Igotsoul4u

This makes me think about getting a matched pair of R122s instead. That way I can use them for overheads and then use one of them for guitar or whatever else I will be overdubbing. Does anyone agree with this compromise?

I would hardly call a matched pair of royers a compromise. They are some of the best sounding and versatile mics you can buy. They will be your goto mics for many different appilications. The especially rule for guitar and overheads which you said was your main purpose for them. You cannot lose.

I meant compromise as in having only a pair versus a pair and a single. ya know what I mean?