FOH uses for beyer M160/M260

1979 · 20th November 2007

Don't know if this is the right forum to post this in, but I figure you remote folks have had a decent background with all sorts of FOH stuff so...

...Here's my story: I'm mainly a FOH/monitor guy. The only expensive mic I actually own is an m260. Being a ribbon mic I was apprehensive about bringing it out to shows, but all I can say is that I'm now addicted to what this mic does, how good it sounds, how well it can reject bleed. etc. This mic has improved the quality of my sounds and saved my ass plenty of times.

As a drum overhead it rocks! I've used it on those brutal sounding 'django' style acoustic guitars with heavy monitors, guitar cab (obviously), but heads down the best application I've found for this mic is the dreaded drum vocalist. Basically, I need to hear cymbal bleed into a beta58 (the usual suspect) like I need a second asshole.

This past weekend the drummer in a loud indie band told me that he was a relatively quiet backing vocal and he needed a lot in his wedge, and I remember thinking "oh **** I can't deal with cymbals and a close by beta58 together -ever again!". So I grabbed the m260 and patched it in. Yes it did need some eq for a live vocalist, mainly a lot off 80hz roll off, and a little boost on top. The singer started up in sound check and I realized it needed a fair bit of gain to match a 58's output, but nothing that insane. Nonetheless it sound great, very articulate, any of the very minimal cymbal bleed sounded good...and yes because of it's tight pattern I was able to dime his monitors, In sound check he asked for less of his own vocal.

I have never heard this mic feedback, and while I haven't jammed it front of a wedge. I have positioned it nicely in relation to the monitors and dimed the gain, and the send, and not even a ring. I would like to try these just on regular vocals live.

Any one else using these mics on stage? I'd like to here about applications. Any one try these just outside a kick? I'm scared to try that out, but some folks tell me it works well.

cheers

hakanai · 20th November 2007

i have a pair of m160's and the theater i work at has a pair of m260's. the 260's are our mics of choice on the top of a leslie and i will occasionally bring my 160's in when someone is using our piano. they do a good job of softening a piano that can sound pretty hard when close miced in the usual "live" ways.

mortenbrekke · 21st November 2007

This thread got me interested in these mics.. What is the difference between m160 and m 260?
For remote recordings I want a microphone with good and smooth off-axis rejection and good sound..
Hope I am not hijacking the thread

MichaelPatrick · 21st November 2007

M160s are great for brass, sax solos, close strings where you need softening, and drum OH when bleed is an issue!

jasonraboin · 24th November 2007

I use a pair of 160's live for drum overheads. I just do kick, snare, and the 160's. They really capture the whole drum kit and have a great vibe.

24th November 2007

I would recommend to keep you M160 for instruments miking only ... away from rough handling and water projection from loud vocalists...

M160 can be used relatively anywhere : drums, percusions, guitar amplifiers, horns. piano.

M130 (figure of 8) can actually provide you the highest separation as long as you orient the microphone correctly. Large proximity effect may be also desirable for very close miking.

Using the null of the M130 figure of 8 (sides or +/-90° angle) for monitor positioning and large gain before feedback; while null of M160 are at +/-60°.

Like omni, figure of 8 microphones may not be seen so often in recording or live condition.

In general M130/M160 ribbon will be much cleaner and detailed that dynamic microphones (closer to condenser mics) but require very carefull handling and especialy good console preamplifier (high gain and really low noise up to 60dB gain ... which can be problematic for low levels).

If you do not mind 48V phantom powering a good trick can be to upgrage M130/M160 with a Rode D-Power (miniature inside mic XLR preamp) ... can be reversed.

**Remoteness** · 25th November 2007

Quote:

Originally Posted by jasonraboin

I use a pair of 160's live for drum overheads. I just do kick, snare, and the 160's. They really capture the whole drum kit and have a great vibe.

Awesome idea.

How long have you been using this technique?

20th November 2007	#1
1979 Gear addict Joined: Mar 2006 Location: Canada Posts: 353 Thread Starter	FOH uses for beyer M160/M260 Don't know if this is the right forum to post this in, but I figure you remote folks have had a decent background with all sorts of FOH stuff so... ...Here's my story: I'm mainly a FOH/monitor guy. The only expensive mic I actually own is an m260. Being a ribbon mic I was apprehensive about bringing it out to shows, but all I can say is that I'm now addicted to what this mic does, how good it sounds, how well it can reject bleed. etc. This mic has improved the quality of my sounds and saved my ass plenty of times. As a drum overhead it rocks! I've used it on those brutal sounding 'django' style acoustic guitars with heavy monitors, guitar cab (obviously), but heads down the best application I've found for this mic is the dreaded drum vocalist. Basically, I need to hear cymbal bleed into a beta58 (the usual suspect) like I need a second asshole. This past weekend the drummer in a loud indie band told me that he was a relatively quiet backing vocal and he needed a lot in his wedge, and I remember thinking "oh **** I can't deal with cymbals and a close by beta58 together -ever again!". So I grabbed the m260 and patched it in. Yes it did need some eq for a live vocalist, mainly a lot off 80hz roll off, and a little boost on top. The singer started up in sound check and I realized it needed a fair bit of gain to match a 58's output, but nothing that insane. Nonetheless it sound great, very articulate, any of the very minimal cymbal bleed sounded good...and yes because of it's tight pattern I was able to dime his monitors, In sound check he asked for less of his own vocal. I have never heard this mic feedback, and while I haven't jammed it front of a wedge. I have positioned it nicely in relation to the monitors and dimed the gain, and the send, and not even a ring. I would like to try these just on regular vocals live. Any one else using these mics on stage? I'd like to here about applications. Any one try these just outside a kick? I'm scared to try that out, but some folks tell me it works well. cheers

20th November 2007	#2
hakanai Gear maniac Joined: Mar 2007 Location: New York Posts: 230 3 Reviews written	i have a pair of m160's and the theater i work at has a pair of m260's. the 260's are our mics of choice on the top of a leslie and i will occasionally bring my 160's in when someone is using our piano. they do a good job of softening a piano that can sound pretty hard when close miced in the usual "live" ways. __________________ you do what you like hakanai

21st November 2007	#3
mortenbrekke Gear interested Joined: Jul 2005 Posts: 21	This thread got me interested in these mics.. What is the difference between m160 and m 260? For remote recordings I want a microphone with good and smooth off-axis rejection and good sound.. Hope I am not hijacking the thread __________________ www.brekkelyd.no

Thread Tools	Search this Thread
Show Printable Version Email this Page	Search this Thread: Advanced Search

Similar Threads
Thread	Thread starter	Forum	Replies	Last Post
Beyer M160 and M260 Mics	impact studios	Remote Possibilities in Acoustic Music & Location Recording	22	3rd September 2010 06:19 AM
Beyer M260 help!	analogtodd	Geekslutz forum	3	24th July 2007 05:41 PM
beyer m160 vs m260	joninc	Remote Possibilities in Acoustic Music & Location Recording	6	21st April 2007 02:15 PM
Beyer M260	rockinrocker	Remote Possibilities in Acoustic Music & Location Recording	13	28th March 2007 11:37 AM
What to do with a Beyer M260?	TornadoTed	Remote Possibilities in Acoustic Music & Location Recording	7	12th December 2006 05:37 AM

21st November 2007	#4
MichaelPatrick Lives for gear Joined: Jul 2006 Posts: 2,254	M160s are great for brass, sax solos, close strings where you need softening, and drum OH when bleed is an issue!

24th November 2007	#5
jasonraboin Gear maniac Joined: Dec 2006 Location: Northampton, MA Posts: 212	I use a pair of 160's live for drum overheads. I just do kick, snare, and the 160's. They really capture the whole drum kit and have a great vibe.

24th November 2007	#6
High Fidelity Guest Posts: n/a	I would recommend to keep you M160 for instruments miking only ... away from rough handling and water projection from loud vocalists... M160 can be used relatively anywhere : drums, percusions, guitar amplifiers, horns. piano. M130 (figure of 8) can actually provide you the highest separation as long as you orient the microphone correctly. Large proximity effect may be also desirable for very close miking. Using the null of the M130 figure of 8 (sides or +/-90° angle) for monitor positioning and large gain before feedback; while null of M160 are at +/-60°. Like omni, figure of 8 microphones may not be seen so often in recording or live condition. In general M130/M160 ribbon will be much cleaner and detailed that dynamic microphones (closer to condenser mics) but require very carefull handling and especialy good console preamplifier (high gain and really low noise up to 60dB gain ... which can be problematic for low levels). If you do not mind 48V phantom powering a good trick can be to upgrage M130/M160 with a Rode D-Power (miniature inside mic XLR preamp) ... can be reversed.