Ribbons and dynamics with slowest transient response for snare recording

[u b k]

Originally Posted by recorder2

And if this can be generalized, dynamic diaphragms have marginally slower transient responses than ribbons.

Since this discussion is technical, it's probably worth noting that ribbon mics *are* dynamic mics, so this distinction you're drawing is technically incorrect.

What you're asking about are the differences between moving coil mics (like the sm57) and ribbon mics (like the 44). Both types use electromagnetic inductance to convert sound waves into electricity by suspending an element (an induction coil and a ribbon, respectively) within a magnetic field; as such, both types are dynamic mics.


Gregory Scott - ubk

[MickeyMassacre]

Not trying to throw off topic, but what about saturating a preamp on the input stage. Would this help in any regard. Pardon my ignorance!

[soundsundergroun]

UBK is right, the difference is negligible.

You would have better luck with a super fast fet compressor like 1176, distressor, fatso, or slamming preamps. Fast attack, fast release 2:1 shaving off jut a few db.

You could also ask the drummer to let up on the rim a little...or mix a non rim snare sample under his cracky rim hits.

[Aaron Miller]

Originally Posted by recorder2

A poster mentioned last week having problems with snare sounds and drum sounds in general being too transient heavy and that in the digital world the transients needed for great sounding tape recordings can be overbearing.

I thought about this and considered what microphones' pickup elements could potentially offer the slowest inherent transient response. Obviously all quality microphones pickup a great deal of transients, but some do of course less than others due to physical design principles, okay here we go--

Condensers are out. Even though the U47fet for instance apparently has a low slew rate from its circuitry, giving the sense of a slower transient response -- I believe the circuitry is basically just smearing the high transient response of the diaphragm.

Ribbons -- the bigger the better I assume. All RCA/AEA mics use the same size large ribbons, is that correct? Whereas Beyerdynamic, Coles, and Royers are using ribbons not as large if I'm not mistaken. Even the Coles 4040 I believe does not have a ribbon as large as the RCA/AEA ones. Unsure about Cloud mics and unsure about that BK-5 reissue from Silvia Mics called the SC-5C but I think the BK-5 was not a large ribbon in the traditional sense. Same as RCA/AEA? In any event am I wrong in thinking that the bigger the ribbon the slower the transient response? [Ribbon tension and corrugation pattern is relevant too I think.]

Dynamics -- also the bigger the better, right? Heil PR30, PR31, PR35, PR48 are the same very large dynamic diaphragm, biggest I think exist. Though I associate Heils with clarity, not low transient response...but the sheer size of the diaphragm is just so...big.

I hear you regarding wanting more softness on drums sometimes. May I suggest something simple? If you haven't messed around with pulling mics back a little bit distance wise, try it out. I think close micing has a lot to do with 'hardness' and am starting to like the sound of other options more and more because of the softness. For instance, FOK mics about 3-5 feek in front of the kit can get a huge sounding kick and snare but much softer. I'm starting to like this style.