Could you do a video on your signal chain for your mic demo’s, how it may change depending on what kind of mics you are using, and how you make those decisions? I feel like you do a great job at highlighting the characteristics of each mic and I look forward to your videos and sound samples every week!
The ribbon sounds great, but the 57 is more in line with what I like. For solo guitar, a blend of the two would be awesome, but for rhythm guitar in a band setting (particularly a bluegrass band) I think the 57 would do a great job.
Hey Cole! I became very interested in these BM3s recently. I am seeing many of them labeled modded, or with changed ribbon etc... Does that an inevitable part of the game with a 60 year old microphone getting the ribbon changed in order to get great studio results with it?(I am thinking low noise and stuff like that) Have you come across any 60's BM3 mics that were in perfect condition, and there was nothing to do with them in terms of maintenance? Best, Abel
Hey Abel! Every now and then I find a B&O that still has its ribbons in perfect shape, but I’d say more than half the time they need their ribbon replaced to hold up on high SPL sources, etc. Do note that while I still love the sound of them, B&O’s tend to have pretty weak magnets and needs lots of gain compared to other ribbons!
I think it would depend on the amp I was using. I think the ribbon would work better with my Fender DRRI and the 57 would work better with my '57 Custom Deluxe.
Could you do a video on your signal chain for your mic demo’s, how it may change depending on what kind of mics you are using, and how you make those decisions?
I feel like you do a great job at highlighting the characteristics of each mic and I look forward to your videos and sound samples every week!
Thanks for the kind words! Yes I’ll make a signal chain video soon!
The ribbon sounds great, but the 57 is more in line with what I like. For solo guitar, a blend of the two would be awesome, but for rhythm guitar in a band setting (particularly a bluegrass band) I think the 57 would do a great job.
Personally I would probably use the ribbon and the 57 as a stereo mix and see how they work together.
Hey Cole! I became very interested in these BM3s recently. I am seeing many of them labeled modded, or with changed ribbon etc... Does that an inevitable part of the game with a 60 year old microphone getting the ribbon changed in order to get great studio results with it?(I am thinking low noise and stuff like that) Have you come across any 60's BM3 mics that were in perfect condition, and there was nothing to do with them in terms of maintenance? Best, Abel
Hey Abel! Every now and then I find a B&O that still has its ribbons in perfect shape, but I’d say more than half the time they need their ribbon replaced to hold up on high SPL sources, etc. Do note that while I still love the sound of them, B&O’s tend to have pretty weak magnets and needs lots of gain compared to other ribbons!
@@colepicksvintage Thank you! This is very useful help. Would not be so good to find "my mic" with trial and error...
I think it would depend on the amp I was using. I think the ribbon would work better with my Fender DRRI and the 57 would work better with my '57 Custom Deluxe.
The B&O sounds nice on ell.git.
By itself, the 57 doesn’t usually sound bad, but when played side by side with the B&O, it sounds like poop in my opinion.