Ribbon mics

[will84]

Thanks for taking the time to do this, Vic -- I really respect your work.

When I see mic lists for sessions of yours, they seen to be mostly condensers and dynamics and few if any ribbon mics. Obviously great sounds can be captured with any of these mic-types... just was curious:

If you do occasionally use ribbon mics, which mic(s) do you put up and what source(s) do you use them on? Why use ribbons, in these particular areas? If not using ribbons -- generally or at all -- please explain your reasoning behind that. Thanks again'.

[ButchVig]

Originally Posted by will84

Thanks for taking the time to do this, Vic -- I really respect your work.

When I see mic lists for sessions of yours, they seen to be mostly condensers and dynamics and few if any ribbon mics. Obviously great sounds can be captured with any of these mic-types... just was curious:

If you do occasionally use ribbon mics, which mic(s) do you put up and what source(s) do you use them on? Why use ribbons, in these particular areas? If not using ribbons -- generally or at all -- please explain your reasoning behind that. Thanks again'.

Ribbons work pretty well as room mics on drums, and sometimes on guitars. I use the Coles and Royers quite a bit.

I'm sure the engineers can give you more detail!

[jefft]

Originally Posted by will84

Thanks for taking the time to do this, Vic -- I really respect your work.

When I see mic lists for sessions of yours, they seen to be mostly condensers and dynamics and few if any ribbon mics. Obviously great sounds can be captured with any of these mic-types... just was curious:

If you do occasionally use ribbon mics, which mic(s) do you put up and what source(s) do you use them on? Why use ribbons, in these particular areas? If not using ribbons -- generally or at all -- please explain your reasoning behind that. Thanks again'.

I love the Royer 121's on a guitar cab. I discovered that when I did a record with Jerry Cantrell. We tracked at A&M (it's Henson now) and I was blowing up their Beyer 160's I believe. The tech told me about this new company with ribbons that could take really high SPLs. He said that Royer had left them a couple to have clients try. I was blown away and wound up buying 2. I use them a lot at my home base on Overheads too and as Butch said, they make really good room mics ,if you have a good sounding room of course.

[Billy Bush]

Originally Posted by will84

Thanks for taking the time to do this, Vic -- I really respect your work.

When I see mic lists for sessions of yours, they seen to be mostly condensers and dynamics and few if any ribbon mics. Obviously great sounds can be captured with any of these mic-types... just was curious:

If you do occasionally use ribbon mics, which mic(s) do you put up and what source(s) do you use them on? Why use ribbons, in these particular areas? If not using ribbons -- generally or at all -- please explain your reasoning behind that. Thanks again'.

Almost always use a R121 on amps and very often on room mics. Coles get used quite a bit as close drum mics. Either can be used as overheads as well.

[supafuzz]

I recently did a drum session with 3 mics...shure unidyne 3 on snare [the earliest 57 version], Akg D12 on kick [head on and about a foot from the head, and a huge rca 44 facing down above the cymbals. Dbx 160 vu and kick and snare and gates sa39 on the OH..into the NEVE console [broadcast]

It sounded great and real retro which was called for with this band..

Also used oktava ML19 on guitar cab....


I love garbage [the band!]