My first ribbon for remote work

[Gerax]

I'm more than tempted to pull the trigger on a Blue Woodpecker as I could have it used (mint condition) for a very reasonable price.
I have checked posts here on the forum and it seems to get mixed comments.
My main gig is acoustic and classical music, those of you using it care to expand a bit on this use of the mic? I heard it has a very pronounced high end which is unusual for a ribbon mic...

Thanx

[Teddy Ray]

I am not particularly fond of it, as it lacks that silky mid range and top end that you find with the old RCA Ribbons, and the Coles 4040s. The only place that I could use it comfortably was on Guitar Cabs and one or two voices. It does have the HF lift that I could never quite overcome to my satisfaction.

If you see some 4040s pop up, though....thumbsup

edit.. I also found noise to be a bit of an issue, at least with the microphone amps I used(dav, hamptone, sytek). as War said... it is the perfect ribbon mic for someone who doesnt want to stray too far from condensors..this is precisely why I did not get on with it.. I like the round/euphonic sound.

[Gerax]

Hmm...thanx for the reply

I have used Coles a few times, but more for room miking applications in a traditional studio environment (e.g. drum room mics), and I found them to be less pronounced than standard condensers...so I kind of understand what you are talking about. The War comment about it being the perfect ribbon for those who don't want to stray too much from a regular condenser is interesting...considering it's the first ribbon I'd purchase it could be a good first step (or maybe not)... How does it perform on acoustic sources (strings, vocals - loud opera ones - and the likes)?

[Teddy Ray]

Originally Posted by Gerax

Hmm...thanx for the reply

I have used Coles a few times, but more for room miking applications in a traditional studio environment (e.g. drum room mics), and I found them to be less pronounced than standard condensers...so I kind of understand what you are talking about. The War comment about it being the perfect ribbon for those who don't want to stray too much from a regular condenser is interesting...considering it's the first ribbon I'd purchase it could be a good first step (or maybe not)... How does it perform on acoustic sources (strings, vocals - loud opera ones - and the likes)?

I never enjoyed it on higher voiced strings(violin and whatnot) but it did pretty well on Cello/Timpani...

Do not care for it on Vocals..

The Coles are less "edgy" than condensors, less bright(Speaking only about the 4040, do not care for the 4038) , but this is precisely why I enjoy them.

[Uncle Russ]

Suggestion: If you want a ribbon mic, then get one that sounds the way a ribbon should sound. I resisted for years, finally needed something better for trumpet, tried it on a few things, and then realized what all the fuss is about. You may EQ a ribbon to enhance the highs (obviating the need for the Blue) but the beauty of the design is the smooth, silky sound. So I would suggest picking up whatever "traditional" sounding ribbon mic you prefer.

[PlugHead]

Originally Posted by Gerax

I'm more than tempted to pull the trigger on a Blue Woodpecker as I could have it used (mint condition) for a very reasonable price.
I have checked posts here on the forum and it seems to get mixed comments.
My main gig is acoustic and classical music, those of you using it care to expand a bit on this use of the mic? I heard it has a very pronounced high end which is unusual for a ribbon mic...

Thanx

IMO - don't do it. The Woodpecker is NOT a good example of a ribbon mic. IME, it's noisy, and has an unnatural high end rise to it - the antithesis to what I expect from a ribbon mic.

I'd suggest the normal, passive ribbon mic, like a Coles 4038, A Royer SF-1 or AEA R84 to start - all of these are wonderful mics, and should bring to the table what you seek in a ribbon mic...

my .02 c

[Gerax]

...looks like it's a No Go for the woodpecker...

[marty lester]

Originally Posted by Gerax

...looks like it's a No Go for the woodpecker...

i just used my Cascade Fatheads on a large recording session...15 people playing acoustic instruments in an awesome church. anyway, i used the Fatheads on a trumpet and a sax and it worked really well.

fwiw,
marty.

[Gerax]

Hey
I just checked the Cascade Fatheads out and they seem to be nice mics. Care to expand a bit on how they sound and what sources you used them on? I found a stereo pair with Blumlein mounting bar for a very reasonable price.

Thanx

[hbphotoav]

I posted a couple of clips, recorded at a concert at Bern's Casino Konzerthaus in 2007, back in January.

Hear them and see the description at:

Using a Blumlein Array in Live Recording?

They are embedded in Post #8. Comments are appreciated.

[marty lester]

Originally Posted by Gerax

Hey
I just checked the Cascade Fatheads out and they seem to be nice mics. Care to expand a bit on how they sound and what sources you used them on? I found a stereo pair with Blumlein mounting bar for a very reasonable price.

Thanx

i used mine on a trumpet and alto sax respectively. they sounded great. if i have time maybe i can post a sample. mind you, the mics were pretty
close to the sound sources.

i quite like the Cascades in Blumlein right in front of a drum kit for room sound and as an additional pair for a string section. not bad at all...but not overly "detailed" sounding...just a nice spatial aid.

lastly, i love them for guitar amps as well...fyi.

hope this is useful,
marty.

[tmcconnell]

Good idea. Noisy. Strident. t

[jnorman]

i have owned royer r-121s, coles 4038s, fathead I's and II's, and shinybox 46's. i liked all of them, but of the bunch, i think the shinybox's were my favorites, even the stock version is excellent. jon does all the handwork on them personally, so quality control is near perfect.

[Gerax]

I resurrect this post.

I was checking out the Fatheads and I had an eye on the X-15 stereo ribbon also from Cascade.
I like the fact that it's convenient to hang a single mic ina Blumlein configuration fro location work.
How does it compare to other ribbons you may have used (including the Fathedas)?
I'd goas far as using it as a main pair for classical/location work if it's any good...

[Uncle Russ]

I will let others answer your question with comparisons to other ribbons. I will answer it in this way: In my collection the Fat Head II Lundahl is analogous to the Shure KSM44 condenser mic. It is very good for almost every application.

You could spend three times more on an AEA R84 and it might sound a little better, just as some other mics may sound a little better than the KSM44. But the Fat Head is very unlikely to disappoint you.

In no way should anyone interpret this as "damning with faint praise". Rather the contrary. The Fat Head is a very useful, good sounding tool regardless of whatever else you might have available.

[chris319]

Honest to goodness I would go with the Shinybox ribbons and nothing else. At least Jon vouches for ribbon tension. Based on past experience I cannot say that for certain other manufacturers.

[JohannesW]

Here sample of 2x Royer SF-1 (blumlein) & Prisim orpheus. (tuba & trumpet)

Boulevard of broken dreams

[boojum]

Shure just picked up a line of ribbons which are supposed to be very nice. Has anyone experience with them??? They were Crowley ans Tripp and have a ribbon of Kryptonite or some other such metal. ;o) They do use a proprietary metal in the ribbon.

How do they sound????

[anonymouse]

how close does the fathead come to a 77?

what would you recommend to get close to a 77 on the cheap.

[Teddy Ray]

Originally Posted by boojum

Shure just picked up a line of ribbons which are supposed to be very nice. Has anyone experience with them??? They were Crowley ans Tripp and have a ribbon of Kryptonite or some other such metal. ;o) They do use a proprietary metal in the ribbon.

How do they sound????

Samples of Crowley & Tripp Naked Eye Roswellite and MKH800 on Flute & Strings

[Don S]

Originally Posted by PlugHead

IMO - don't do it. The Woodpecker is NOT a good example of a ribbon mic. IME, it's noisy, and has an unnatural high end rise to it - the antithesis to what I expect from a ribbon mic.

I'd suggest the normal, passive ribbon mic, like a Coles 4038, A Royer SF-1 or AEA R84 to start - all of these are wonderful mics, and should bring to the table what you seek in a ribbon mic...

my .02 c

I agree strongly with this evaluation of that mic. It's not one of the better ribbons I've heard.