Beyer m160 / Royer 121 comparisons
Manny Grossman
Thread Starter
#1
26th January 2003
Old 26th January 2003
  #1
Gear Head
 

Thread Starter
Beyer m160 / Royer 121 comparisons

So I'm thinking of picking up a 121, mainly for drums, guitars and rock vox and I see that Beyer is still making the m160 and that its half the price and still gets excellent reviews here and elsewhere. Basically I can get 2 for a little more than the price of the 121. My questions:
1) Is the Royer "twice" as good as the beyer as its twice the price?
2) What advantages do either of the mics have over eachother?
3) Would you take 2 beyers over 1 royer, especially given my needed application for drums (Overheads?).
4) Which mic is more versatile in the long run?
PS-I'd be running the mics thru 4 preamps. An API312 Averill, MP-2nv, Sebatron vmp4000e and Davisound TB-5 if this helps.
Any other insights would be extremely helpful. Thanks!!!!!!!
#2
26th January 2003
Old 26th January 2003
  #2
Gear addict
 

The biggest difference will be the Royer figure 8 pattern versus the Beyer hypercardiod. For that reason alone you'll probably find the beyer more useful. The Beyer also has a hotter output which is handy. Sound is another and more subjective matter.
#3
26th January 2003
Old 26th January 2003
  #3
Banned
 
malice's Avatar
 

Re: Beyer m160/Royer 121 comparisons

Quote:
Originally posted by Manny Grossman
So I'm thinking of picking up a 121, mainly for drums, guitars and rock vox and I see that Beyer is still making the m160 and that its half the price and still gets excellent reviews here and elsewhere. Basically I can get 2 for a little more than the price of the 121. My questions:
1) Is the Royer "twice" as good as the beyer as its twice the price?
2) What advantages do either of the mics have over eachother?
3) Would you take 2 beyers over 1 royer, especially given my needed application for drums (Overheads?).
4) Which mic is more versatile in the long run?
PS-I'd be running the mics thru 4 preamps. An API312 Averill, MP-2nv, Sebatron vmp4000e and Davisound TB-5 if this helps.
Any other insights would be extremely helpful. Thanks!!!!!!!

1) No it isn't, they are two different mics
2) appart from the tone wich is a question of taste, the royer can handle a lot more SPL than the Beyer, and is may be more natural sounding IMHO.On the other hand, you have combinations with Beyer, with a figure 8 and cardioid that allow true MS recording, wich is sometimes great as overheads (I think it is 160 and 130, for the 260, I'm not sure...The beyer are a lot cheaper, and are for some reason under estimated.
The Royer is far more versatile !
3) for drums, in particular, I would go for the matched Beyer, but what I really choose is SF12 stereo Ribbon by Royer
4)Royer 121

Hope this Help

malice
#4
26th January 2003
Old 26th January 2003
  #4
Banned
 
malice's Avatar
 

btw, Royer 121 is a killer on electric gtr in conjunction with a SM57

malice
#5
28th January 2003
Old 28th January 2003
  #5
Gear addict
 

121 v 160

I think the 160 sounds a little tubbier than the 121. I prefer the 121 -E
#6
29th January 2003
Old 29th January 2003
  #6
Gear interested
 

I own a matched pair of Royer 121s and just got a pair of the new AEA R-84 large ribbons (www.wesdooley.com) a couple of weeks ago and they are the bomb. I love the 121s, but for drums, in my room, I pick the R-84s. Also, I like the R-84 much better than the 121 in the vocal department. The R-84s are a bit less $$$ than the Royers, but I have no idea which I'd buy first, 121s are a requirement for me when tracking guitar. On a recent horn session, I used the R-84 on trombone and the 121 on Tenor sax both thru Brent Averil API 312s and it was truly beautiful. I think you'll find the high gain of your Brent API 312 to match well with ribbons . My Brent 312s are so hot that using ribbons is normally the only time I don't have to use the pad, such a natural open sound.

robp
www.witchdoctorrecording.com
#7
5th June 2004
Old 5th June 2004
  #7
I think I am leaving my Royer SF12 behind and moving forward with a pair of Beyer M160's ... no slurr on the Royers character at all - just what suits my small drum room better.... I may have to sell the Royer... if I do.... it will be a painfull parting....


#8
6th June 2004
Old 6th June 2004
  #8
Gear nut
 
sharpeleven's Avatar
 

Quote:
Originally posted by Jules
I think I am leaving my Royer SF12 behind and moving forward with a pair of Beyer M160's ... no slurr on the Royers character at all - just what suits my small drum room better.... I may have to sell the Royer... if I do.... it will be a painfull parting....


Jules,

keep in mind that you can 'move in' a lot closer with figure 8 mics because the absence of proximity effect. I have found that I can place my R121 right next to a sound source and it'll still sound natural. At that point the 'direct' signal from the sound source will be much more prominent than any reflections picked up from the rear. So with other words the R121 might be more effective in taking the room out of the picture, if that's what you want, than cardioid mics...

cheers,

Chris
#9
6th June 2004
Old 6th June 2004
  #9
I take your interesting point re figure of 8 pick up patterns but without 2 indevidual mics I can't really put it to good use..

Here's my ribbon inventory

1 x Royer 121 - outer kick drum / elec GTR's
1 x Royer SF12 (picking up too much room on OH duties)
2 x Beyer M160 (on trial for OH duties)
#10
6th June 2004
Old 6th June 2004
  #10
Gear Head
 
jdfoca's Avatar
 

160 vs. 121

Hello everyone. Does Beyer actually provide matched pairs of 160's? There is no mention of the possibility on their website for this model!
#11
6th June 2004
Old 6th June 2004
  #11
Gear maniac
 
jasonlivermore's Avatar
 

Hi,

At our place we have pairs of the beyer m160's r121's and the r84's.
The m160's get used about 80 % of the time on gtr. Then the royers, and r84s last. On drums the r84's sound huge and smooth, followed by the r121's then the m160's. I like the r84 best on vox then the m160, followed by the royer. The royers have lasted me 4 years with one reribboning. I have had to replace the ribbons on my m160's three times now. They are much more sensitive then the royers. The r84's are only 4 monthes old, so no problems yet. They all have their places, so it depends on your application. To describe the tone I would say the R84 is the biggest, has the most low end, and also great mid detail, but not too bright. The r121 is also large sounding, but not quite as much as the r84. It has more of a focus around 2-3k and not alot of air above it. The m160 is the smallest of the 3. It has great mids, and more air than the others, it also does not have the low of the others. This is why I enjoy it on gtr. They are all great mics. Hope this helps.

Jason Livermore
The Blasting Room
Ft. Collins, CO
#12
6th June 2004
Old 6th June 2004
  #12
Lives for gear
 
NathanEldred's Avatar
Quote:
Originally posted by sharpeleven
Jules,

keep in mind that you can 'move in' a lot closer with figure 8 mics because the absence of proximity effect.


No offense, but this statement as a general rule (95% of the time) isn't true. Most microphones that are figure of 8 have a greater proximity effect than the omni or even cardiod counterpart (condensers and ribbons). It really comes down to the individual mic, but generally this is more true than not. The R121 has a pretty substantial rolloff in the lowend, I suspect to help counteract this natural proximity to an extent (but not completely), so it's not a good example to base things on. A quote from the Royer website:

"The figure-8 pickup pattern of the R-122 and most ribbon mics produces a disproportionate amount of bass response due to an exaggerated proximity effect."
#13
6th June 2004
Old 6th June 2004
  #13
If you want to use a ribbon for drum overheads, do you want to filter out the cymbals? If so, use the Royer as nothing is there above 8k hz. You will get at least 15k hz out of the 160's if you want to hear some cymbal attack.

Question! Why is the frequency response plot on the Royar hand drawn without even using a logarithmic frequency plot? Why does the plot show 16k hz response when your ears tell you it's a low pass filter? How hard is it to rent an anechoic chamber and test this stuff?

inquiring minds want to know...

Jim Williams
Audio Upgrades
#14
7th June 2004
Old 7th June 2004
  #14
Lives for gear
 
NathanEldred's Avatar
Quote:
Originally posted by Jim Williams
If you want to use a ribbon for drum overheads, do you want to filter out the cymbals? nothing is there above 8k hz.

Thank you. I feel the same way, about any ribbon in general for that specific application. Now please someone explain to me (and I'm not criticizing, just genuinely curious) as to why I've seen the statement "I love ribbons for overheads to digital because it counteracts the harsh high end". This statement would lead those who don't know any better to believe that everything over 8k on digital is "harsh". This is far from true. Everything over 1,000 cycles with a cheap converter to digital is harsh, but sounds great with a quality 'high end' converter. Using a ribbon to solve this problem is like putting a bandaid on an amputees gaping wound.
#15
7th June 2004
Old 7th June 2004
  #15
Gear nut
 
sharpeleven's Avatar
 

Quote:
Originally posted by NathanEldred
No offense, but this statement as a general rule (95% of the time) isn't true. Most microphones that are figure of 8 have a greater proximity effect than the omni or even cardiod counterpart (condensers and ribbons). It really comes down to the individual mic, but generally this is more true than not. The R121 has a pretty substantial rolloff in the lowend, I suspect to help counteract this natural proximity to an extent (but not completely), so it's not a good example to base things on. A quote from the Royer website:

"The figure-8 pickup pattern of the R-122 and most ribbon mics produces a disproportionate amount of bass response due to an exaggerated proximity effect."
I stand corrected....
#16
7th June 2004
Old 7th June 2004
  #16
"Now please someone explain to me (and I'm not criticizing, just genuinely curious) as to why I've seen the statement "I love ribbons for overheads to digital because it counteracts the harsh high end".

OK I will below.

"This statement would lead those who don't know any better to believe that everything over 8k on digital is "harsh".

What? - Nonsense!

"This is far from true. Everything over 1,000 cycles with a cheap converter to digital is harsh, but sounds great with a quality 'high end' converter. Using a ribbon to solve this problem is like putting a Band-Aid on an amputees gaping wound."

Er.. you are getting a bit dramatic there Nathan!

To explain...

Coming from a 2" tape background I found when I moved over to Pro Tools that my usual (world class) mic pre / mic combos revealed too much HF HISS from hihats and not enough 'meat' of metalwork as far as overhead sound was concerned. This was with Apogee AD8000SE converters and I find it so today with my Prism Dream ADA converters...

I found that the hardest things for me to get on Pro Tools were...

1) Smooth, non 'hissy' cymbal sound
2) Sub bass / 'air puff' on kick drum's
3) 'Non fizzy' distorted elec gtr

So I found that ribbons helped me get all 3 - a ribbon mic on OH (Royer SF12 is awesome in a big room) and a ribbon mic on outer kick (Royer 121 - thanks Fletcher for the idea) and a 121 again on guitar cabs...

Just as folks have found using a Fatso usefull to shave off the transient HF fizz on electric gtrs - the ribbon HF "shave off" suits me for cymbals when recording to digital -

Unlike 2" which has it's own and well loved, transient compression thing going on, the unforgiving nature of digital HF reproduction sometimes needs a helping hand to sound 'nice'.


IMHO
#17
7th June 2004
Old 7th June 2004
  #17
Gear addict
 
dhughes's Avatar
 

Hey, I don't want to get in the way of the big dogs here but I have a simple (probably stupid) question that I want to ask. And rather than start a new thread, maybe someone will speak to it here.

Does anyone ever block off the back side of a figure 8 to turn it into a sort of hypercardioid-like mic? As most all the recording I do is with live bands, and typically the 121 is on a guitar amp, I end up picking up a lot kick and bass in the guitar track. My thought is to block off the back side of the 121.

As always, I know - "do it and find out" but I can't do it for a couple of days and maybe someone will speak to this and save me some time.
#18
8th June 2004
Old 8th June 2004
  #18
Quote:
Originally posted by Jules
"Now please someone explain to me (and I'm not criticizing, just genuinely curious) as to why I've seen the statement "I love ribbons for overheads to digital because it counteracts the harsh high end".

OK I will below.

"This statement would lead those who don't know any better to believe that everything over 8k on digital is "harsh".

What? - Nonsense!

"This is far from true. Everything over 1,000 cycles with a cheap converter to digital is harsh, but sounds great with a quality 'high end' converter. Using a ribbon to solve this problem is like putting a Band-Aid on an amputees gaping wound."

Er.. you are getting a bit dramatic there Nathan!

To explain...

Coming from a 2" tape background I found when I moved over to Pro Tools that my usual (world class) mic pre / mic combos revealed too much HF HISS from hihats and not enough 'meat' of metalwork as far as overhead sound was concerned. This was with Apogee AD8000SE converters and I find it so today with my Prism Dream ADA converters...

I found that the hardest things for me to get on Pro Tools were...

1) Smooth, non 'hissy' cymbal sound
2) Sub bass / 'air puff' on kick drum's
3) 'Non fizzy' distorted elec gtr

So I found that ribbons helped me get all 3 - a ribbon mic on OH (Royer SF12 is awesome in a big room) and a ribbon mic on outer kick (Royer 121 - thanks Fletcher for the idea) and a 121 again on guitar cabs...

Just as folks have found using a Fatso usefull to shave off the transient HF fizz on electric gtrs - the ribbon HF "shave off" suits me for cymbals when recording to digital -

Unlike 2" which has it's own and well loved, transient compression thing going on, the unforgiving nature of digital HF reproduction sometimes needs a helping hand to sound 'nice'.


IMHO
So what you are saying is in order to overcome what ever PT's is doing to the high end, a low pass effect will help it sound better. After hearing PT's, I would have to say that would probably help.

Sort of reminds me of the old line, "Hey doc, it hurts when I raise my arm!", to which the doctor says, "then don't raise your arm".

Jim Williams
Audio Upgrades
#19
8th June 2004
Old 8th June 2004
  #19
Lives for gear
 
mpr3's Avatar
 

Quote:
Originally posted by Jim Williams
So what you are saying is in order to overcome what ever PT's is doing to the high end, a low pass effect will help it sound better. After hearing PT's, I would have to say that would probably help.
I am not sure if PT HD (without any plugins) is impeding the sound of the converters (Manley, Prism, Lavry, etc) as much as you are suggesting.

Bottom line for me is: I like the way the r121s, r84s and m160s sound as overheads, regardless of how many thousands the converters cost.
#20
8th June 2004
Old 8th June 2004
  #20
Here's a question for ya..

How low could a low pass filter go on a mic'ed cymbal before its stops sounding like a cymbal?

Pretty low - is my guess...

7k? 5k? 4k?

I use both overheads and room mic's - I like to point the 2 room mic's towards bare brick (facing away from the kit) I prefer this 'boundary effect' delayed HF I get from these mic's especialy on the cymbals and under snare sound to the HF direct from the overheads and close mic'e undersnare...

Multi mic a-go-go!

#21
8th June 2004
Old 8th June 2004
  #21
Lives for gear
 
crypticglobe's Avatar
Quote:
Originally posted by dhughes
Hey, I don't want to get in the way of the big dogs here but I have a simple (probably stupid) question that I want to ask. And rather than start a new thread, maybe someone will speak to it here.

Does anyone ever block off the back side of a figure 8 to turn it into a sort of hypercardioid-like mic? As most all the recording I do is with live bands, and typically the 121 is on a guitar amp, I end up picking up a lot kick and bass in the guitar track. My thought is to block off the back side of the 121.

As always, I know - "do it and find out" but I can't do it for a couple of days and maybe someone will speak to this and save me some time.
It's so wild that you said that. I actually have a small project studio at home that I mainly use to do some editing/mixing, etc. I also do a few overdubs there, and I have really been wanting to start doing more of my guitar overdub sessions there. So, I have this great little closet that fit's a combo amp, or a 2 x 12 cabinet quite nicely... but it's not quite big enough for a 4 x 12. I completely treated the inside to try to eliminate the "box" sound.
Well, that helped... but with the R121.... I still picked up this UGLY boxy sound from the backside of the mic. So, I just got a square piece of auralux I had left over, and punched two tiny holes in it with an icepick. I ran a twist tie through it, and then used that to attach the foam to the mic stand DIRECTLY behind the R121. VOILA! Man, did that ever do the trick! Even sounds great when you flip the R121 around and use the back side for the slighly brighter response! You get all the TRUE sound of the R121 with what sounds more like the pattern you get with the other guitar standard micss (57, 421, etc). I ended up cutting some tracks with that setup (Fender Bassman Head>Mesa 2 x 12 cabinet>R121>LTD-1>Converters). I had the R121 quite close to the speaker, so I definitely had to roll off some low end, but other than that... it sounded really good amazing straight through with no extra EQ. I then also put up a 421 (Bassman Head>Mesa 2 x 12 Cabinet>421>RNP>Speck ASC-T>Converters). I put the 421 at the exact same distance from the cone as the R121, and then angled it off axis midway between the cone, and the outside of the speaker. Blending them provided an incredible sound with no phase issues. I then I mixed them together through my distressor at 2:1, DIST 2, Attack at 5 or so, Release at 4-7, and hitting about 2-4db of reduction. I think I may have found the "end all, be all" in your FACE sound. What I got from that little experiment was absolutely SUPERB. It left me wanting a TG-2 to use instead of the RNP.... but that's coming soon. Even so... these were some of the best guitar tones I have ever gotten. This was for an alternative rock sound. Some pushed clean, and some with the amp on 10 through a hot plate with a tube screamer up front for a thick saturated, but still focused tone. I used my American Strat Plus Deluxe with a Humbucker in the bridge postion, a Paul Reed Smith Tremonti SE, and Les Paul Classic. Hooking my Bogner XTC 101b, up to that cab sounded Amazing as well.

It was all very in your face, with no HINT at all of the fact that it was all in a very small little closet. I am quite happy. Tonight, I am gonna see what I can get with the 65 Super Reverb in the same closet.
#22
9th June 2004
Old 9th June 2004
  #22
Quote:
Originally posted by Jules
Here's a question for ya..

How low could a low pass filter go on a mic'ed cymbal before its stops sounding like a cymbal?

Pretty low - is my guess...

7k? 5k? 4k?

I use both overheads and room mic's - I like to point the 2 room mic's towards bare brick (facing away from the kit) I prefer this 'boundary effect' delayed HF I get from these mic's especialy on the cymbals and under snare sound to the HF direct from the overheads and close mic'e undersnare...

Multi mic a-go-go!

How do you deal with the phasing issues?

Jim Williams
Audio Upgrades
#23
9th June 2004
Old 9th June 2004
  #23
Quote:
Originally posted by crypticglobe
Even sounds great when you flip the R121 around and use the back side for the slighly brighter response!
We all hope you remembered to flip the polarity of the mic around. It's usually better to blow then to suck.

Jim Williams
Audio Upgrades
#24
9th June 2004
Old 9th June 2004
  #24
Gear addict
 
dhughes's Avatar
 

Quote:
Originally posted by crypticglobe
It's so wild that you said that. I actually have a small project studio at home that I mainly use to do some editing/mixing, etc. I also do a few overdubs there, and I have really been wanting to start doing more of my guitar overdub sessions there. So, I have this great little closet that fit's a combo amp, or a 2 x 12 cabinet quite nicely... but it's not quite big enough for a 4 x 12. I completely treated the inside to try to eliminate the "box" sound.
Well, that helped... but with the R121.... I still picked up this UGLY boxy sound from the backside of the mic. So, I just got a square piece of auralux I had left over, and punched two tiny holes in it with an icepick. I ran a twist tie through it, and then used that to attach the foam to the mic stand DIRECTLY behind the R121. VOILA! Man, did that ever do the trick! Even sounds great when you flip the R121 around and use the back side for the slighly brighter response! You get all the TRUE sound of the R121 with what sounds more like the pattern you get with the other guitar standard micss (57, 421, etc). I ended up cutting some tracks with that setup (Fender Bassman Head>Mesa 2 x 12 cabinet>R121>LTD-1>Converters). I had the R121 quite close to the speaker, so I definitely had to roll off some low end, but other than that... it sounded really good amazing straight through with no extra EQ. I then also put up a 421 (Bassman Head>Mesa 2 x 12 Cabinet>421>RNP>Speck ASC-T>Converters). I put the 421 at the exact same distance from the cone as the R121, and then angled it off axis midway between the cone, and the outside of the speaker. Blending them provided an incredible sound with no phase issues. I then I mixed them together through my distressor at 2:1, DIST 2, Attack at 5 or so, Release at 4-7, and hitting about 2-4db of reduction. I think I may have found the "end all, be all" in your FACE sound. What I got from that little experiment was absolutely SUPERB. It left me wanting a TG-2 to use instead of the RNP.... but that's coming soon. Even so... these were some of the best guitar tones I have ever gotten. This was for an alternative rock sound. Some pushed clean, and some with the amp on 10 through a hot plate with a tube screamer up front for a thick saturated, but still focused tone. I used my American Strat Plus Deluxe with a Humbucker in the bridge postion, a Paul Reed Smith Tremonti SE, and Les Paul Classic. Hooking my Bogner XTC 101b, up to that cab sounded Amazing as well.

It was all very in your face, with no HINT at all of the fact that it was all in a very small little closet. I am quite happy. Tonight, I am gonna see what I can get with the 65 Super Reverb in the same closet.
Hey, thanks for the tips! I'll probably need to use something thicker than the auralex foam for my particular application. I've actually got some auralex sheetblok that should work well.

Thanks for replying.
#25
9th June 2004
Old 9th June 2004
  #25
Lives for gear
 
crypticglobe's Avatar
Quote:
Originally posted by Jim Williams
We all hope you remembered to flip the polarity of the mic around. It's usually better to blow then to suck.

Jim Williams
Audio Upgrades
Of course I do... but thanks for the reminder.
#26
11th April 2005
Old 11th April 2005
  #26
Gear addict
 
wilcofan's Avatar
 

I own an m160 and I was thinking about getting a royer r-121 so I did a shoot out between them with one from a local store.

The royer, IMO, was definitely NOT twice the mic but it was really nice. The Beyer has more bottom at the same proximity and the highs are extended but I'm always needing EQ to help the shape of the m160. The royer's basic shape sounded better without EQ but to my brain the m160 had a richness to it, almost like the "Vvvv" sound of good tube gear, that the royer had less of. I'm always using two bands of EQ on the m160 to bring it's shape similar to a U87 or something and I never gripe about it since it takes the EQ so well and always sounds good. I'm sure there are situations where the top of the m160 and the proximity are good natural but my studio is a little dead and I'm usually close micing - I've never had a chance to hear one of those situations.

It's true the figure-8 pattern would have made it more versitile but I still would have been picking between the two for mostly the same applications. Guitar cabs. I didn't get the r-121 as the difference is more than double here.

Bob

P.S. When I bought the m160 my local dealer showed me pictures of the Beyer factory (Beyerdynamic flew him as a perk) and it's like a time-warp to the 1960's. Little old ladies sitting at desks and machines made in the 1940's! This is definitely a hand-built, old school mic.
#27
11th April 2005
Old 11th April 2005
  #27
Lives for gear
 
paterno's Avatar
 

Quote:
Originally Posted by NathanEldred
No offense, but this statement as a general rule (95% of the time) isn't true. Most microphones that are figure of 8 have a greater proximity effect than the omni or even cardiod counterpart (condensers and ribbons). It really comes down to the individual mic, but generally this is more true than not. The R121 has a pretty substantial rolloff in the lowend, I suspect to help counteract this natural proximity to an extent (but not completely), so it's not a good example to base things on.
The low end response is due the operating principles of the ribbon design, and because of this design low end response is exaggerated.

Did a little research on this, and found a few interesting things:

Cardioid mics exhibit about -6db less proxmity effect on average [at the same working distance], relative to Figure 8, because the cardioid pattern is derived from a combination of Figure 8 and omni. Omni exhibits far less proximity effect, and none if the source is at a 90 degree angle to the element.

Another interesting fact -- the proximity effect is less with dynamic cardioids and those mics that derive their polar response from a single diaphragm and perforated back plate [you know those slits or ribs behind the element on a 57? -- those slits are what enable cardioid operation].

If any of you want to know more, check out 'The Microphone Handbook', by John Eargle.

Cheers,
John
#28
11th May 2005
Old 11th May 2005
  #28
Lives for gear
 
Rumi's Avatar
 

I wonder what you say about Coles? They're not even mentioned in this thread!!!
#29
12th May 2005
Old 12th May 2005
  #29
Gear nut
 

i own both the beyer 160 an royer-121...im going to suggest two other mics that i prefer to both of those...the rca bk-5 and the rca varicoustic 6203.

to me the bk-5 is closer to the beyer 160. both have a nice extended high end..but the bk-5 has a detailed mid-range to it that the beyer seems to lack. the bk-5 also has a beautiful smooth high end. uni-directional. all around stellar mic for about 500-700 bux. great for oh's, gtrs, vox, acoustics....anything,

the 6203 is the sleeper of all ribbons in my opinion. i wish i could keep it a secret,,,,sounds very much like a rca 77 to my ears. (i believe they are almost identicle in design,,just a different chassy) more body like the royer, but with a beautiful natural high end. very versitile too with 5 different positions. i bought mine and got it re-ribboned for 400.00 total. please no one buy one until i can get my hands on one more...thanks
#30
12th May 2005
Old 12th May 2005
  #30
Gear nut
 

i forgot two things......i was also bothered a bit by the so called "digital harshness", especially with cymbals. i've found cutting a few db at 20k works wonders. i have no idea why, but it darkens things up just right for me without killing all my highend (i prefer things a little darker....)

i have baffled the backside of my figure 8 mics many times. always works great for me when doing full band live recordings....whatever it takes
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