The difference is actually enormous if, like me, you're comparing them in IEMs. I had a Sennheiser deal back in the day so we always carried a full compliment of Sennheiser mics on tour. Occasionally a 57 would make it in front of my amps and I always had to swap it out at soundcheck for a 609. The difference was night and day. The 609 doesn't have the pronounced presence bump that the 57 has, which of course helps a guitar cab cut through a busy mix, but that bump is killer in IEMs...at least to my delicate ears. The 609 was a lot softer and needed far less drastic eq in the monitor mix. IMHO it was perfect almost out of the box for IEMs. Front of house...you'd have to ask a FOH guy. I have one sitting behind me in my studio and it's just occurred to me that I have never used it for recording electric guitar. Always a 57 and a ribbon. Just habit I guess.
Good anecdote. I have zero point zero experience with in-ears, but I can imagine certain frequencies become really tiring to your ears in such a direct format. Also, curious to know which ribbon mic is your go to?
@@sand_swan I bought a pair of Cascade Fatheads about 20 odd years ago, when they were put together in Canada?? I had them imported when I lived in the UK. I run them through Triton Fetheads for additional gain. I've used these on overheads, guitars and vocals, and would be happy to put them up against ribbon mics that cost 10 x as much...and have done. IMHO they are a total steal. They have a very flat response and a gentle roll off on top. There's probably a ton of ribbons out there that are just as good that are way under the Royer 121 price bracket.
The difference is actually enormous if, like me, you're comparing them in IEMs. I had a Sennheiser deal back in the day so we always carried a full compliment of Sennheiser mics on tour. Occasionally a 57 would make it in front of my amps and I always had to swap it out at soundcheck for a 609. The difference was night and day. The 609 doesn't have the pronounced presence bump that the 57 has, which of course helps a guitar cab cut through a busy mix, but that bump is killer in IEMs...at least to my delicate ears. The 609 was a lot softer and needed far less drastic eq in the monitor mix. IMHO it was perfect almost out of the box for IEMs. Front of house...you'd have to ask a FOH guy.
I have one sitting behind me in my studio and it's just occurred to me that I have never used it for recording electric guitar. Always a 57 and a ribbon. Just habit I guess.
Good anecdote. I have zero point zero experience with in-ears, but I can imagine certain frequencies become really tiring to your ears in such a direct format.
Also, curious to know which ribbon mic is your go to?
@@sand_swan I bought a pair of Cascade Fatheads about 20 odd years ago, when they were put together in Canada?? I had them imported when I lived in the UK. I run them through Triton Fetheads for additional gain.
I've used these on overheads, guitars and vocals, and would be happy to put them up against ribbon mics that cost 10 x as much...and have done. IMHO they are a total steal.
They have a very flat response and a gentle roll off on top. There's probably a ton of ribbons out there that are just as good that are way under the Royer 121 price bracket.