Hi friends, I am very grateful to be able to show these 4 amazing Ribbon Mics! Special thanks to Vintage King for lending us these mics! Each one is an amazing mic that offers incredible results! Please check out the video, comment, like and share! You all Rock! Thank you ever so much for all of your support! Have a marvellous time recording and mixing, many thanks Warren
Just for the sake of argument - just because the outside of the casing is the same 3" away from the grill cloth, doesn't mean the ribbon itself is, as well :) That R84's gotta be at least twice the diameter of the R121, for instance...
Definitely no science here KhronX, but it is a real world experiment! As you suggested Royer's Ribbon could have been the closest or second closest, but it also was the lowest output. These reviews are based on the real world, what we actually would experience and I'm definitely NOT an expert just a guy who plays guitar and produces! Have a marvellous time recording and mixing, many thanks Warren
I have to go with the Coles. I own a couple of these mics, but the Coles just does exactly what a ribbon mic is supposed to do. When I reach for a ribbon, I want that natural sound while naturally taming piercing highs. If you want that kick, it's solid, and already cutting the highs. If you want overheads, it will keep shrill symbols in check. Definitely all great mics, but if I was to chose a ribbon for a ribbon, Coles.
I love ribbon mics, they capture texture like no other mics can, and the high-frequency roll-off can be a really good thing when recording to digital... Thanks Warren!
Mesanovic for sure. It’s very tight and balanced. Completely organic sound! Thanks for this shoot out. Never heard of Mesanovic but that will definitely be my first ribbon microphone. Nice work brethren!
The R84 is by far the best of the bunch (I own one). And I’ll keep saying that until I can afford the others :) Thanks for the awesome shootout of all these amazing microphones!
Warren, this is a great comparison. Thank you for having samples that don't involve reverb / delay, doubled performances, or other stereo trickery. Seriously thanks. I liked the Coles/AEA the most, then Royer.
Remember, that is why these are often used along with a 57, which will bring back all the highs you could ever want, then balance between the two mics for the total sound.
I think I like the Coles and the Mesanovic the best even though they are quite different. I love the warmth of the Coles and with the distortion it really had that early Billy Gibbons ZZ Top sound! - seemed to definitely add some great rich color and tone. It's Old School for sure! The Mesanovic was so clear and precise but not too bright. What you say people like about the Royer I personally don't care for. To me it was overly bright. The ribbon I own is AEA R88 stereo which I use for location recording of my blues band and my classical guitar/lute recording but I think I will now be jonesin' for a pair of Coles!
Very, very helpful comparison and explanation. I'm still discovering ribbon microphones and how to implement them and this really helps a lot. Thank you! 5 ⭐
Hi Warren, truly grateful for your generosity, knowledge, time and true selfless videos!! I don't know all the "cats" out there posting but you and Dave Pensado blow me away with such positive vibe, wholehearted videos. Thanks! Many ribbon mics also have a "bright and dark" side, depending on which side of the figure 8 you use. Not sure if it was brought up already but wanted to put that in. Thanks again love the videos!!
Used the Coles 4038 several times, it was a model made back in the 60's was always terrified i was going to fry it. Always found it to be a very neutral sound, warm and a little dark
Hi Kieran, yes, I do actually know what you mean! Haha! Many modern mics have a hyped top end, the gentle roll off of the Coles is very pleasing!! Have a marvellous time recording and mixing, many thanks Warren
Thanks for the comment! There's never a perfect way to describe the emotional contemn we have to gear we use and the music we make KhronX! Have a marvellous time recording and mixing, many thanks Warren
Khrnox Reading my comment back you can be nitpicky :P, suppose the warmness would the mids to low mids, always got a very strange feeling using these microphones, also was rarely allowed use them such a shame!
Hi John-Paul, I agree 100%!! The Beyerdynamic M160 is an amazing mic!! Thanks for your great comment! Have a marvellous time recording and mixing, many thanks Warren
@@Producelikeapro the M160 is great because it doesn't pick up the room as much, if you don't want the room sound or sound of the acoustic sound of the pick hitting the strings if the player is in the same room as the amp, especially at lower volumes.
Royer - most silky, Cole’s - most mojo, absolutely flattering what it does to the guitars mids, AEA - cleanest, what I imagine the amp would sound like in the room with you, mesanovic - most modern, sounds like the result of a dynamic and condenser mixed to taste.
The AEA seems to be a bit more "lively" - really nice for the OD guitar. The Mesanovic is a great value! The AEA is the overall preferred ribbon mic to my ears.
Huh. I'm aiming to get a set of 4038s, a set of 121s, and an R84. I had finally chosen those above the AEA Ns and the Royer 101. Then I heard the Mesanovic and I feel like I'm back to the drawing board again! It can be a little frustrating trying to decide, but at the same time, the takeaway seems to be that you really can't go wrong at this level of quality. You could have any mic out of the set, and it would sound great -- you might just change your placement, and EQ them differently when you were done tracking.
Thanks for this comparison! Guitar is a great example, but there are so many more sources. Piano and drums come to mind as other key ribbon mic areas. I can't pick favorites, they all did something interesting. I can say that most of these are top class mics. Maybe all of them. Mesanovic has the hard task of being the newcomer in a classic lineup, so props to them for being included.
the ribbon mic is 100 years old, at the time of this post (2023). the 121 (released in 1998) is definitely a modern take on ribbon mics. they're more well balanced than older ribbons which tend to be thick in the low mids and bass
I LOVE ribbon mics! For so long they seem to have all but disappeared from the recording scene; but they've always been my "go-to" for miking guitar amps ( I like to use a 57 in-tight and then a ribbon pulled back a few feet), it's one of those "instant tone" things. I also love them for miking rooms for drums, and, they have that warm, syrupy vibe for vocals, if you're looking for a more vintage sound. Thanks Warren. ;)
Hi MrDonnyAir, great comment! Agreed Ribbons rule!! Great combination the 57 and a Ribbon! Have a marvellous time recording and mixing, many thanks Warren
great video as always. In my opinion they are all fantastic mics. The Coles to me was the one that had the most beef and fullness to it. The AEA actually sounded the most natural, good body but the high ened wasn't rolled off so much and just sounded smooth. The Mesanovic was a nice mic too. Thanks for doing these vidoes!
Mesanovic take my money ! Amazing video mate, If i could rank the eq parameters of each it would be - Royer : highs 10, middle 6, low 5 Coles : high 4, middle 8, low 10. Aea high 8, middle 8, low 7. Mesanovic high 9, middle 7, low 8. Overall I personally think the Mesanovic and the Aea are the most balanced than the others. The differences between those two its a matter of taste. The Aea has a bit of more midrange and the Mesanovic has a bit of more high and low frequencies. But no debut from this shootout there are the most balanced overall. Thanks mate
Good shootout! One particular thing about ribbon mics, if you are missing high-end, many times you can boost treble quite aggressively. You will usually find usable high frequencies that were just hiding, and unlike with condensers the result tends not to be brittle/biting/harsh (even using stock EQ plugins). Give it a try, you may be surprised. Cheers!
Every time you tapped on the windscreens I winced. I'm super paranoid about ribbon mics because I had (an inexpensive one) get bumped over on a low stand and it broke the ribbon. It's good to know that I'm probably being a little overly careful - which I don't see as a bad thing! Thanks again for all the great content and I hope YOU have a marvellous time recording and mixing!
Haha I hear! A light tap or scratch is perfectly fine, but I'm sorry to hear your mic got bumped and damaged! Have a marvellous time recording and mixing, many thanks Warren
Great Work Warren as always , thanks for this video! Yeap.. R121 shines on gtrs! I know that coles 4038 sounds great as drum room mic or OH's. (great sounding mic with a lot of character especially on the bottom low end and low mids!!) Also R84 great on piano and rooms and OH.. vintage killer sound! Warm and bit of missing on the high end freqs, but hey !!! these are the Ribbons! Best wishes from Athens!
Another great video Warren! Just have to say I truely appreciate how you share your knowledge and experience and in such an engaging way. I can't believe how much I've learned from your content. Thank You
I bought a Cascade Fathead BE (not much more than an SM57) and is my go to mic for guitar amps. Great affordable mic to help introduce anyone into the world of ribbon microphones. You're absolutely right, they are underused and underrated. In the world of digital where sounds can be very shrill and bright, I find that ribbons tame the harshness quite a bit. Watch all the prices go up on Ebay now hahaha
Hi David, that's fantastic to hear! I used the Cascade a couple of times and really enjoyed it! Haha agreed! Glad to be able to help people understand a little more! Love using Ribbons! Have a marvellous time recording and mixing, many thanks Warren
I own a AEA and this mic is absolutely great, I love it! It has the RCA motor and sounds like these 50ies mics. The only thing you have to consider is the mic placement, especially in front of a heavy metal amp............. It should be at least 6 inches away from the speaker if you don't want the low end boost and to avoid damaging the ribbon by wind blasts!!!!This mic sounds superior on vocals too.
Hi Win R. yes, I also own an AEA and LOVE it! They make beautiful mics, I use mine on vocals and piano! Have a marvellous time recording and mixing, many thanks Warren
I really like the sound of these Microphones. Of course I wish you through a SM57 in there as a reference but I get it, you are testing ribbon microphones. You are a really good guitar player as well. 🤟🤘
.. I just read through the comments, and it seems the experts have chimed in, haha. I would like to add that 'the real world' situation is where I live and this shootout perfectly demonstrated some serious character differences in those mics. I gleaned some great insight into ribbons after watching this. ..enough to know I wouldn't want to settle on owning just one, haha. cheers!
Thanks Frederick!! I really appreciate your kind words!! Yes, the Mesanovic is pretty fantastic! Have a marvellous time recording and mixing, many thanks Warren
Haha it's ok Frederick! I am NOT an expert at all! Just a guitar playing Producer songwriter guy like everyone else! So I can only give you my opinion based on making music! You Rock my friend! Have a marvellous time recording and mixing, many thanks Warren
my ribbon's seem to deliver a more dynamic, almost 3D sound when hey're are placed about half a metre from acoustic and a full metre from loud soeaker speaker. It seems like people are trying to get a dynamic mic sound, when, imho; we should be exploring the ribbons peculiarities and their potential strengths.
I'm going through my own mic shootout to find the best way to capture my amps in a way that gives the listener an idea what to expect. I'm dialing my amp up to push air and trying to capture that sound, and finding that a bit more challenging. These sound like the amp is quite low volume, and the overdrive is a pedal, but really not pushing any additional SPL. Would be useful to hear what the mics are doing with the amp moving more air. Love your videos though.
I'd love to be able to hear the sound of your acoutic with my own ears and compare it to those recordings! For me, the Royer is the clear winner on the acoustic - the other mics make it sound like you need to change your strings.
Hi Ollie, yes the Royer sounds fantastic on heavy guitars!! It's a real favourite of many great Rock Engineers and you can see why!! Have a marvellous time recording and mixing, many thanks Warren
Thanks for the shootout, Warren! Seems the Mesanovic goes for about $1k USD, which is very good price for that sound quality. Another ribbon to consider... I've had two Crowley & Tripp 'Naked Eye' ribbon mics for many years. They are now made and sold under Shure brand as KSM313 for about $1300. They are excellent for guitar cabinet, horns, etc., with a nice high end extension like the Royer and Mesanovic. Cheers.
Hi T W Tobin, yes, I found out afterwards that the Mesanovic was 1k! Wow! Amazing value for money!! Would love to hear the original Crowley and Tripp Mic! I used the Shure on Brad Whitford's guitars on the last Aerosmith album and loved it!! Have a marvellous time recording and mixing, many thanks Warren
My understanding is that the KSM313 is the direct equivalent of the old Naked Eye 'Roswellite' version, so if you tried the Shure then you've tried the C&T. Though I have never tried Royer mics, but my guess is the Shure/NakedEye might beat it for top end extension and usability on a wider range of sources (as confirmed by one poster here www.thegearpage.net/board/index.php?threads/royer-101-vs-121-vs-shure-ksm-313.1435469/)
Hey Warren, great video. I'd like to share a procedureal idea I had in the name of science (SCIENCE!) • Run your guitar's output to your favorite DI. Send the passthrough signal to the amp chain and the XLR to your DAW. • Set your desired clean and dirty tones and levels on the amp • Record the clean and distorted passes, capturing only the DI output. Now you have a playback track. • Send this track to your favorite reamp box and from there back to the amp. Play back the track and make sure the levels are where you like them. If your preamp has only an input gain control: • With the track still playing choose the mic with the hottest output and set the preamp to your ideal input level. • Re-record the playback to a new track in your DAW • Swap mics making sure the diaphragm is on the same plane and position in space as the last mic, and record again to another track, leaving the preamp set as-is. Repeat for all the mics. This will give you a clear indication of the differences between the mics' output levels. • Adjust trims in the DAW so that all the takes are at the same level and conduct your listening comparison. If your preamp has an output trim: • Set the preamp gain and out put trim individually for each mic making sure that each one peaks at the same levels, both at the preamp and in the DAW. Obviously there are a number of difficulties in setting up an experiment like this including mic-to-preamp interactions at different gain levels, etc. Still if you take these steps you'll have eliminated (well, minimized) two very pesky variables (performance and mic placement) and you'll have some number of tracks in which the only significant variable is the microphone, allowing you to focus on the tonal differences with fewer distractions. Love these comparison videos! Thanks p.s. I accidentally deleted this comment the first time I posted and typed it out all over again. SCIENCE!
haha indeed Steve!! I was at a restaurant tonight and I read this comment and low and behold the Stones' 'It's Only Rock N' Roll' was playing! haha Have a marvellous time recording and mixing, many thanks Warren
Thanks Warren! Just scored a Mesanovic Model 2. Can't wait to try track some violin and trumpet next weekend. I think that extended top end will be very nice. Plan on trying to use proximity to adjust for the lows. Great Grouping of mics to compare. Almost went with the R48, but that Model 2 is a sleeper classic.
I'm very curious what would happen if someone would mix the Coles with Shure57. A mix of wonderfull low and mid frequencies and top high end together...
I guess at the end of the day it's not just what sounds better either... it's what's going to fit the mix also. Every time I watch one of these video's I end up thinking "I'm going to need all of these depending on the song..."
A great video! Thanks for doing it. One thought, though…for the sake of more even comparison using a looper to play the same guitar part would have been useful, especially if you would post the different mic tracks as downloads.
Either that, or simultaneous tracking of all four mics. Although considering the bulk of some of them, that might not be quite as feasible as the looper idea (although reamping would work just as well).
Agreed Ken a loop would have been perfect! I love the real world experience! When you put on headphones and the sound connects with you! I've watched those speaker comparisons and they forget that a musician will play differently depending on the sound coming through the speaker! There's so much more to music than electronics! Thankfully! haha Have a marvellous time recording and mixing, many thanks Warren
I was very happy to see a real world example by a great guitar player and producer! The way equipment reacts to the player really helps define the quality of the gear, not just what an oscilloscope reads.
Great comment IWant Appledumplings, I saw a speaker review where they set up a guitar sound with one speaker and then changed it to different speakers using a loop etc. It was definitely scientific, but depending on which speaker you set the guitar sound up on then the others might be too dark, too bright, not loud enough, too loud. At the end of the day it's all about how you respond to the equipment, does it inspire you? If it does then great!! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren! Great video. Found you through your videos with Tim Pierce. I'm new to the recording stuff and look forward to looking through your videos. FYI, nice job with Tim on the several videos I have watched.
As usual, GREAT video Warren !! I agree : 121 on electric guitar ( I use it with a SM57 every day ). Loved the Coles on acoustic guitar, I should buy one ( I use a Peluso R14 too in my studio ) .... ;) Thanks again for your vids Warren !!
Hi Warren, here is a suggestion to make such comparisons easier: record the guitar DI and send it immediately to the guitar amp so you can here what you are playing. Then for each mic, you play back your DI signal on the amp and record what you get from the tested mics. What do you think?
Hi Bengt, I think for a non real world experience that would be great! However for me in the real world I understand that as a musician or singer you respond to the sound you're hearing and that is what I want to convey! I recently watched a speaker demo where they did exactly what you are suggesting and my feeling is they missed the mark, the reality is which speaker do you choose to set up a great guitar tone? Is it the darker one, the brighter one? The more efficient louder one? The less efficient one? I like the real world test and frankly I had nothing to gain but tell you honestly how I felt. I hope that clarifies? Have a marvellous time recording and mixing, many thanks Warren
I think you make a very valid point! I would have expected that the guitar player would hear how he sounded by listening to what came out of the guitar amp. Playing something back in this situation would not interfere with the performance of the guitar player. What you are saying is that the guitar player is listening to the miced sound of the guitar amp. Thus, also the response of the mic is heard by the guitar player and that he responds by playing differently. That makes perfectly sense to me. I see why my suggestion would not work in the real world! Many thanks, Bengt
Hi Brian, here is quote from Wes Dooley 'Sank gave us a large stack of NOS ribbon material and a ribbon corrugater that AEA still uses to this day.' I hope that clarifies for you? Many thanks Warren
Thank you so much for the comparison video Warren @Produce Like A Pro. Really really fantastic work. For a few years now I've been super interested to hear the tonal differences between the AEA R84 and the Royer 121, especially since I learnt that the AEA R84 was used exclusively by Jeff Beck for the 'Emotion & Commotion' Album in front of his Fender Pro Juniors. P.S.: When can expect the budget microphone shootout :) ? Cheers !!!
I loved the colors of the Royer, Coles, and the AEA. The Coles sounded pleasant on the acoustic guitar. I also liked it for the meaty, chunky driven guitar. The Royer was light and pleasant on most everything, but I'd prefer the Coles for a statement that wanted to sound authoritative, and I can definitely hear how it would work well for overheads. I thought the AEA sounded pleasing on the electric guitar, but not on the acoustic guitar. I didn't like the Mesanovic on anything. It just sounded like a condenser mic.
I'm with you on the Mesanovic. Only sounded good to me on the clean electric, if you wanted a super pure "unmic'd" sound. Something in the highs or upper mids got pretty weird in the overdriven parts and on the lows on the acoustic weren't very musical to me (maybe EQ would fix it)... I'd take the Coles and AEA the fastest out of the bunch. For me the most usable on the most sources. Used to own 121s and they got boxy sounding on way too many sources. Good on EG sometimes, lovely on kick drum front or a few feet in front of the kit near kick rim top height. Not that versatile for me though.
Have you tried the mesas on drum overheads? I'm looking into getting the stereo version, but can't decide between that or getting another Coles and using those as my stereo overheads. The mesa is tempting because its a stereo mic...won't have to mess around with placing two of those massive Coles!
Great videos Warren thanks a lot! It would be great to hear you talking about the other aspects of production besides the engineering aspects (I.e. instrumentation, how to work arrangements of a song from a singer songwriting composition, creating a good vibe for recording, ,etc.) pura vida! Greetings from Costa Rica
Hi Funk, agreed! There are videos on guitar and drum production! I will definitely being doing more!! Have a marvellous time recording and mixing, many thanks Warren
Aw shucks thanks very much Darlene! Yes, I agree there's much more to this than just playing back something stagnant! There is the interaction you feel from the microphone as well as the guitar, the amp and the mic pre! Each mic inspired me differently! Thanks for your great comment! Have a marvellous time recording and mixing, many thanks Warren
@2.52 Warren, when using a ribbon at a distance and a dynamic on the grille, how does one balance the polarity difference because if the ribbon is further away than the dynamic there will be a time difference, whereas if the ribbon is close to the cab it risks damaging the ribbon?
Hi friends, I am very grateful to be able to show these 4 amazing Ribbon Mics! Special thanks to Vintage King for lending us these mics! Each one is an amazing mic that offers incredible results! Please check out the video, comment, like and share! You all Rock! Thank you ever so much for all of your support! Have a marvellous time recording and mixing, many thanks Warren
Just for the sake of argument - just because the outside of the casing is the same 3" away from the grill cloth, doesn't mean the ribbon itself is, as well :) That R84's gotta be at least twice the diameter of the R121, for instance...
Definitely no science here KhronX, but it is a real world experiment! As you suggested Royer's Ribbon could have been the closest or second closest, but it also was the lowest output. These reviews are based on the real world, what we actually would experience and I'm definitely NOT an expert just a guy who plays guitar and produces! Have a marvellous time recording and mixing, many thanks Warren
So good to see Ribbon Mics used in the real world !! I hear the Royers are wonderful as overheads !!
Hi Darlene, yes, Dave Jerden uses the Royers as overheads!! He loves them!! Have a marvellous time recording and mixing, many thanks Warren
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I have to go with the Coles. I own a couple of these mics, but the Coles just does exactly what a ribbon mic is supposed to do. When I reach for a ribbon, I want that natural sound while naturally taming piercing highs. If you want that kick, it's solid, and already cutting the highs. If you want overheads, it will keep shrill symbols in check. Definitely all great mics, but if I was to chose a ribbon for a ribbon, Coles.
The Coles just has this realistic presence to my ears. Amazing mic!
Hi Philbert! Agreed the Coles has great warmth!! Have a marvellous time recording and mixing, many thanks Warren
And sounds so neutral! :)) Nice job, great video again! :)
Thanks Adam!!! Glad you enjoyed the video!! Have a marvellous time recording and mixing, many thanks Warren
Mesanovic filled my ears, felt it vibrating the tips of my ears. so much depth and width.
Hi SpinDreams, yes I was really impressed!! Have a marvellous time recording and mixing, many thanks Warren
I love ribbon mics, they capture texture like no other mics can, and the high-frequency roll-off can be a really good thing when recording to digital... Thanks Warren!
Hi noisesoundtonevibe, I agree 100%!! Have a marvellous time recording and mixing, many thanks Warren
The Mesanovic sounds so real to life. Like you're right there.
Wonderful mic
r-121 clean 8:14
r-121 clean 2 8:43
r-121 drive 9:04
r-121 drive 2 9:26
coles clean 11:16
coles clean 2 12:17
coles drive 12:37
coles drive 2 13:03
aea clean 15:00
aea clean 2 15:24
aea drive 15:54
aea drive 2 16:37
mesanovic clean 18:07
mesanovic clean 2 18:35
mesanovic drive 19:17
mesanovic drive 2 20:34
r-121 ag 27:18
coles ag 29:52
aea ag 31:39
mesanovic ag 33:12
Thanks ever so much for sharing
Mesanovic for sure. It’s very tight and balanced. Completely organic sound! Thanks for this shoot out. Never heard of Mesanovic but that will definitely be my first ribbon microphone. Nice work brethren!
Very interesting. To my ears, there is a reason for the popularity of the Royer 121.
Hi Piedscooter1, agreed! Great mic! All 4 of these sound fantastic!! Have a marvellous time recording and mixing, many thanks Warren
Warren, I must say, what delightful playing!
That's very kind of you!
The R84 is by far the best of the bunch (I own one). And I’ll keep saying that until I can afford the others :)
Thanks for the awesome shootout of all these amazing microphones!
Warren, this is a great comparison. Thank you for having samples that don't involve reverb / delay, doubled performances, or other stereo trickery. Seriously thanks. I liked the Coles/AEA the most, then Royer.
Fantastic! Thanks ever so much! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
Remember, that is why these are often used along with a 57, which will bring back all the highs you could ever want, then balance between the two mics for the total sound.
Absolutely! Agreed 100%! The Sm57 will certainly add the high mid presence lift!
I've been digging the Senn421/Royer 121 combination even more than the 57/121
@@Producelikeapro Can you substitute an sm57 with an sm7b in this configuration?
I think I like the Coles and the Mesanovic the best even though they are quite different. I love the warmth of the Coles and with the distortion it really had that early Billy Gibbons ZZ Top sound! - seemed to definitely add some great rich color and tone. It's Old School for sure! The Mesanovic was so clear and precise but not too bright. What you say people like about the Royer I personally don't care for. To me it was overly bright. The ribbon I own is AEA R88 stereo which I use for location recording of my blues band and my classical guitar/lute recording but I think I will now be jonesin' for a pair of Coles!
Very, very helpful comparison and explanation. I'm still discovering ribbon microphones and how to implement them and this really helps a lot. Thank you! 5 ⭐
You're so sweet, Warren. Thank you for this channel.
That’s very kind of you
I flippin love watching you play. Brilliant
Wow! Thanks ever so much
Got myself my first ribbon recently, an m160 and love it.
I LOVE the Byere m160!! Amazing mic!! Great purchase! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, truly grateful for your generosity, knowledge, time and true selfless videos!! I don't know all the "cats" out there posting but you and Dave Pensado blow me away with such positive vibe, wholehearted videos. Thanks!
Many ribbon mics also have a "bright and dark" side, depending on which side of the figure 8 you use. Not sure if it was brought up already but wanted to put that in. Thanks again love the videos!!
great player, love the note choice and phrasing
Aw shucks thanks ever so much Adam! Have a marvellous time, recording and mixing many thanks Warren
Coles is more vintagy sounding on the overdrive and the Royer more in yo face and modern. Love them both.
Him: Plays an epic solo... !
Him: ”Yeah you can definitely hear the warmth.“
Haha thanks ever so much
Used the Coles 4038 several times, it was a model made back in the 60's was always terrified i was going to fry it. Always found it to be a very neutral sound, warm and a little dark
Not to be (too) nitpicking, but those terms sound kinda contradictory to me - is it neutral, or warm/dark? :P
Hi Kieran, yes, I do actually know what you mean! Haha! Many modern mics have a hyped top end, the gentle roll off of the Coles is very pleasing!! Have a marvellous time recording and mixing, many thanks Warren
Thanks for the comment! There's never a perfect way to describe the emotional contemn we have to gear we use and the music we make KhronX! Have a marvellous time recording and mixing, many thanks Warren
Khrnox Reading my comment back you can be nitpicky :P, suppose the warmness would the mids to low mids, always got a very strange feeling using these microphones, also was rarely allowed use them such a shame!
A unique sound, struggling to explain! haven,t captured anything like it before.
Would have loved a Beyerdynamic M160 - that is one of the ultimate guitar ribbon mics. Was also used on a lot of Beatles records as drum overheads
Hi John-Paul, I agree 100%!! The Beyerdynamic M160 is an amazing mic!! Thanks for your great comment! Have a marvellous time recording and mixing, many thanks Warren
@@Producelikeapro the M160 is great because it doesn't pick up the room as much, if you don't want the room sound or sound of the acoustic sound of the pick hitting the strings if the player is in the same room as the amp, especially at lower volumes.
Royer - most silky, Cole’s - most mojo, absolutely flattering what it does to the guitars mids, AEA - cleanest, what I imagine the amp would sound like in the room with you, mesanovic - most modern, sounds like the result of a dynamic and condenser mixed to taste.
Hi Warren, very educational for me. I learned some interesting points and actually learned to listen a bit more objectively. Thanks for sharing.
Thanks very much jcmocclain57! So glad to be able to help! Have a marvellous time recording and mixing, many thanks Warren
do you write have a marvellous time recording and mixing every time or do you copy paste it?
The AEA seems to be a bit more "lively" - really nice for the OD guitar. The Mesanovic is a great value! The AEA is the overall preferred ribbon mic to my ears.
Huh. I'm aiming to get a set of 4038s, a set of 121s, and an R84. I had finally chosen those above the AEA Ns and the Royer 101. Then I heard the Mesanovic and I feel like I'm back to the drawing board again! It can be a little frustrating trying to decide, but at the same time, the takeaway seems to be that you really can't go wrong at this level of quality. You could have any mic out of the set, and it would sound great -- you might just change your placement, and EQ them differently when you were done tracking.
Thanks for this comparison! Guitar is a great example, but there are so many more sources. Piano and drums come to mind as other key ribbon mic areas. I can't pick favorites, they all did something interesting. I can say that most of these are top class mics. Maybe all of them. Mesanovic has the hard task of being the newcomer in a classic lineup, so props to them for being included.
the ribbon mic is 100 years old, at the time of this post (2023).
the 121 (released in 1998) is definitely a modern take on ribbon mics. they're more well balanced than older ribbons which tend to be thick in the low mids and bass
I LOVE ribbon mics! For so long they seem to have all but disappeared from the recording scene; but they've always been my "go-to" for miking guitar amps ( I like to use a 57 in-tight and then a ribbon pulled back a few feet), it's one of those "instant tone" things. I also love them for miking rooms for drums, and, they have that warm, syrupy vibe for vocals, if you're looking for a more vintage sound. Thanks Warren. ;)
Hi MrDonnyAir, great comment! Agreed Ribbons rule!! Great combination the 57 and a Ribbon! Have a marvellous time recording and mixing, many thanks Warren
great video as always. In my opinion they are all fantastic mics. The Coles to me was the one that had the most beef and fullness to it. The AEA actually sounded the most natural, good body but the high ened wasn't rolled off so much and just sounded smooth. The Mesanovic was a nice mic too. Thanks for doing these vidoes!
Hi Niall O' Carroll! Thanks very much for your great comment! Have a marvellous time recording and mixing, many thanks Warren
Mesanovic take my money ! Amazing video mate, If i could rank the eq parameters of each it would be - Royer : highs 10, middle 6, low 5 Coles : high 4, middle 8, low 10. Aea high 8, middle 8, low 7. Mesanovic high 9, middle 7, low 8.
Overall I personally think the Mesanovic and the Aea are the most balanced than the others. The differences between those two its a matter of taste. The Aea has a bit of more midrange and the Mesanovic has a bit of more high and low frequencies. But no debut from this shootout there are the most balanced overall. Thanks mate
Totally agree with you
Great video Warren. Good shootout comparison. I really wanna buy a Mesanovic now! Thanks! You're the BEST!
Hi Richard J Burkhart, agreed! It's pretty special!! Have a marvellous time recording and mixing, many thanks Warren
A superb demonstration.
1 minute in and I LOVE the dual mic with a Sennheiser e609 direct with a Royer from DIY microphones (rm-5) across and back a bit. Always amazing.
Thanks for the great tip Jordan! Have a marvellous time recording and mixing, many thanks Warren
Good shootout!
One particular thing about ribbon mics, if you are missing high-end, many times you can boost treble quite aggressively. You will usually find usable high frequencies that were just hiding, and unlike with condensers the result tends not to be brittle/biting/harsh (even using stock EQ plugins). Give it a try, you may be surprised.
Cheers!
Great tip Stephen! I really appreciate the insight my friend!! Have a marvellous time recording and mixing, many thanks Warren
The ribbons sound amazing. Great sound, especially on electric.
Hi Matthew, agreed! The Ribbon mic is very ignored but sounds amazing! Have a marvellous time recording and mixing, many thanks Warren
Terrific mic shootout. This sets the standard for how this should be done. I really ended up preferring the Royer on pretty much everything.
Wow! Thanks ever so much! So glad you enjoyed the video
Every time you tapped on the windscreens I winced.
I'm super paranoid about ribbon mics because I had (an inexpensive one) get bumped over on a low stand and it broke the ribbon. It's good to know that I'm probably being a little overly careful - which I don't see as a bad thing!
Thanks again for all the great content and I hope YOU have a marvellous time recording and mixing!
Haha I hear! A light tap or scratch is perfectly fine, but I'm sorry to hear your mic got bumped and damaged! Have a marvellous time recording and mixing, many thanks Warren
R121 8:18
R121 Drive 9:03
4038 11:17
4038 Drive 12:38
Great Work Warren as always , thanks for this video! Yeap.. R121 shines on gtrs! I know that coles 4038 sounds great as drum room mic or OH's. (great sounding mic with a lot of character especially on the bottom low end and low mids!!) Also R84 great on piano and rooms and OH.. vintage killer sound! Warm and bit of missing on the high end freqs, but hey !!! these are the Ribbons! Best wishes from Athens!
Dang nice picking on the acoustic! Didn't know you play!!
Hi Warren. Another great and fun video. Your tones are fantastic !
Thanks ever so much Franke!! Have a marvellous time recording and mixing, many thanks Warren
Awesome video! Love hearing mic comparisons
Thanks Eric I really appreciate it!! Have a marvellous time recording and mixing, many thanks Warren
Another great video Warren! Just have to say I truely appreciate how you share your knowledge and experience and in such an engaging way. I can't believe how much I've learned from your content. Thank You
Hi Scotty, I am so glad to be able to help! I appreciate your great comment!! Have a marvellous time recording and mixing, many thanks Warren
These are all excellent mics. Once you engage that BAE 1028EQ it will become a different ball game and totally level the playing field.
I bought a Cascade Fathead BE (not much more than an SM57) and is my go to mic for guitar amps. Great affordable mic to help introduce anyone into the world of ribbon microphones. You're absolutely right, they are underused and underrated. In the world of digital where sounds can be very shrill and bright, I find that ribbons tame the harshness quite a bit. Watch all the prices go up on Ebay now hahaha
Hi David, that's fantastic to hear! I used the Cascade a couple of times and really enjoyed it! Haha agreed! Glad to be able to help people understand a little more! Love using Ribbons! Have a marvellous time recording and mixing, many thanks Warren
AWESOME TONE!!!!!!!!!
simple + sweet ++Great playing!!!
I own a AEA and this mic is absolutely great, I love it! It has the RCA motor and sounds like these 50ies mics. The only thing you have to consider is the mic placement, especially in front of a heavy metal amp............. It should be at least 6 inches away from the speaker if you don't want the low end boost and to avoid damaging the ribbon by wind blasts!!!!This mic sounds superior on vocals too.
Hi Win R. yes, I also own an AEA and LOVE it! They make beautiful mics, I use mine on vocals and piano! Have a marvellous time recording and mixing, many thanks Warren
I really like the sound of these Microphones. Of course I wish you through a SM57 in there as a reference but I get it, you are testing ribbon microphones. You are a really good guitar player as well. 🤟🤘
Wow, that was a great shootout. I don't have access to that kind of assortment. Now I want one of those Mesanovics! :) Thanks!
.. I just read through the comments, and it seems the experts have chimed in, haha. I would like to add that 'the real world' situation is where I live and this shootout perfectly demonstrated some serious character differences in those mics. I gleaned some great insight into ribbons after watching this. ..enough to know I wouldn't want to settle on owning just one, haha. cheers!
Thanks Frederick!! I really appreciate your kind words!! Yes, the Mesanovic is pretty fantastic! Have a marvellous time recording and mixing, many thanks Warren
Haha it's ok Frederick! I am NOT an expert at all! Just a guitar playing Producer songwriter guy like everyone else! So I can only give you my opinion based on making music! You Rock my friend! Have a marvellous time recording and mixing, many thanks Warren
my ribbon's seem to deliver a more dynamic, almost 3D sound when hey're are placed about half a metre from acoustic and a full metre from loud soeaker speaker. It seems like people are trying to get a dynamic mic sound, when, imho; we should be exploring the ribbons peculiarities and their potential strengths.
14:58 Warren-pack guitar samples :P
love this style of play
Thanks Тест!! That's very kind of you!! Have a marvellous time recording and mixing, many thanks Warren
as always.. your videos are super informative and useful .. tons of information and education to be gained.. You rock Warren! Cheers
I'm going through my own mic shootout to find the best way to capture my amps in a way that gives the listener an idea what to expect. I'm dialing my amp up to push air and trying to capture that sound, and finding that a bit more challenging. These sound like the amp is quite low volume, and the overdrive is a pedal, but really not pushing any additional SPL. Would be useful to hear what the mics are doing with the amp moving more air. Love your videos though.
I'd love to be able to hear the sound of your acoutic with my own ears and compare it to those recordings! For me, the Royer is the clear winner on the acoustic - the other mics make it sound like you need to change your strings.
On the electric I prefered the R121 on heavier tones and loved the 4038 on the clean tones. R84 won for me on acoustic.
Hi Ollie, yes the Royer sounds fantastic on heavy guitars!! It's a real favourite of many great Rock Engineers and you can see why!! Have a marvellous time recording and mixing, many thanks Warren
Thanks for the shootout, Warren! Seems the Mesanovic goes for about $1k USD, which is very good price for that sound quality. Another ribbon to consider... I've had two Crowley & Tripp 'Naked Eye' ribbon mics for many years. They are now made and sold under Shure brand as KSM313 for about $1300. They are excellent for guitar cabinet, horns, etc., with a nice high end extension like the Royer and Mesanovic. Cheers.
Hi T W Tobin, yes, I found out afterwards that the Mesanovic was 1k! Wow! Amazing value for money!! Would love to hear the original Crowley and Tripp Mic! I used the Shure on Brad Whitford's guitars on the last Aerosmith album and loved it!! Have a marvellous time recording and mixing, many thanks Warren
My understanding is that the KSM313 is the direct equivalent of the old Naked Eye 'Roswellite' version, so if you tried the Shure then you've tried the C&T. Though I have never tried Royer mics, but my guess is the Shure/NakedEye might beat it for top end extension and usability on a wider range of sources (as confirmed by one poster here www.thegearpage.net/board/index.php?threads/royer-101-vs-121-vs-shure-ksm-313.1435469/)
Great stuff! I really enjoyed the KSM313! Great mic!! Have a marvellous time recording and mixing, many thanks Warren
Dam, you got some gat chops Warren.
Hey Warren, great video.
I'd like to share a procedureal idea I had in the name of science (SCIENCE!)
• Run your guitar's output to your favorite DI. Send the passthrough signal to the amp chain and the XLR to your DAW.
• Set your desired clean and dirty tones and levels on the amp
• Record the clean and distorted passes, capturing only the DI output. Now you have a playback track.
• Send this track to your favorite reamp box and from there back to the amp. Play back the track and make sure the levels are where you like them.
If your preamp has only an input gain control:
• With the track still playing choose the mic with the hottest output and set the preamp to your ideal input level.
• Re-record the playback to a new track in your DAW
• Swap mics making sure the diaphragm is on the same plane and position in space as the last mic, and record again to another track, leaving the preamp set as-is. Repeat for all the mics. This will give you a clear indication of the differences between the mics' output levels.
• Adjust trims in the DAW so that all the takes are at the same level and conduct your listening comparison.
If your preamp has an output trim:
• Set the preamp gain and out put trim individually for each mic making sure that each one peaks at the same levels, both at the preamp and in the DAW.
Obviously there are a number of difficulties in setting up an experiment like this including mic-to-preamp interactions at different gain levels, etc. Still if you take these steps you'll have eliminated (well, minimized) two very pesky variables (performance and mic placement) and you'll have some number of tracks in which the only significant variable is the microphone, allowing you to focus on the tonal differences with fewer distractions.
Love these comparison videos!
Thanks
p.s. I accidentally deleted this comment the first time I posted and typed it out all over again. SCIENCE!
Hi Hermiel, thanks for all of your insights and tips!! I really appreciate it!! Have a marvellous time recording and mixing, many thanks Warren
It's only Rock and Coles....but I like it :-) Nice Video Maestro....
haha indeed Steve!! I was at a restaurant tonight and I read this comment and low and behold the Stones' 'It's Only Rock N' Roll' was playing! haha Have a marvellous time recording and mixing, many thanks Warren
Thanks Warren! Just scored a Mesanovic Model 2. Can't wait to try track some violin and trumpet next weekend. I think that extended top end will be very nice. Plan on trying to use proximity to adjust for the lows. Great Grouping of mics to compare. Almost went with the R48, but that Model 2 is a sleeper classic.
I'm very curious what would happen if someone would mix the Coles with Shure57. A mix of wonderfull low and mid frequencies and top high end together...
Thank you very much for doing this. I've learned so much from your videos and for that I'm very thankful!
Hi Hop Tzop, you're welcome! Really glad you enjoyed the video! Have a marvellous time recording and mixing, many thanks Warren
muchas gracias!!!! I was waiting for this a long time ago,
thank you very much from Argentina warren
Hi Juan, glad to be able to help!! Hello in Argentina! Have a marvellous time recording and mixing, many thanks Warren
THANKS! FROM SOUTH AMERICA, YOUR CHANNEL IS GREAT,! EASY TO UNDERSTAND & HELPFU L.
My 12” speaker pushes a lot of air how did you get the r84 to sound so good!!?
I guess at the end of the day it's not just what sounds better either... it's what's going to fit the mix also.
Every time I watch one of these video's I end up thinking "I'm going to need all of these depending on the song..."
FINALY! The video ive been waiting for.
Thanks very much Mihkel! Glad to be able to help! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, great video as usual. I would like to see one comparing the active versions of these (Royer R-122, Mesanovic 2A, etc.). Thanks!
A great video! Thanks for doing it. One thought, though…for the sake of more even comparison using a looper to play the same guitar part would have been useful, especially if you would post the different mic tracks as downloads.
Either that, or simultaneous tracking of all four mics. Although considering the bulk of some of them, that might not be quite as feasible as the looper idea (although reamping would work just as well).
Agreed Ken a loop would have been perfect! I love the real world experience! When you put on headphones and the sound connects with you! I've watched those speaker comparisons and they forget that a musician will play differently depending on the sound coming through the speaker! There's so much more to music than electronics! Thankfully! haha Have a marvellous time recording and mixing, many thanks Warren
I was very happy to see a real world example by a great guitar player and producer! The way equipment reacts to the player really helps define the quality of the gear, not just what an oscilloscope reads.
Great comment IWant Appledumplings, I saw a speaker review where they set up a guitar sound with one speaker and then changed it to different speakers using a loop etc. It was definitely scientific, but depending on which speaker you set the guitar sound up on then the others might be too dark, too bright, not loud enough, too loud. At the end of the day it's all about how you respond to the equipment, does it inspire you? If it does then great!! Have a marvellous time recording and mixing, many thanks Warren
Just discovered your videos this week. So helpful. Thank you for spending the time to put these out.
Thanks Duncan! Thanks ever so much!! Have a marvellous time recording and mixing, many thanks Warren
Hot fucking damn, that Coles.
Haha yes indeed Aiden!
What!!! A new office chair? I was just getting used to seeing you in the old one :) Love your videos as always.
Hi Tim, haha, yes, that's a better condition chair!! Have a marvellous time recording and mixing, many thanks Warren
Thank you for the review! What choice would be your choice for my trumpet? I would like a more detailed sound ...
Superb job, you have a new subscriber.
Good work, good, informative video. Thank You!
Thanks ever so much! Really glad you enjoyed the video!! Have a marvellous time recording and mixing, many thanks Warren
Thanks Warren; really useful video. Great to hear ya rippin' on GTR : -)
Thanks Arthur! I really appreciate it!! You Rock! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren! Great video. Found you through your videos with Tim Pierce. I'm new to the recording stuff and look forward to looking through your videos. FYI, nice job with Tim on the several videos I have watched.
Great stuff!! Yes, Tim is amazing! He is a gifted guitar player and an amazing mentor! Have a marvellous time recording and mixing, many thanks Warren
As usual, GREAT video Warren !! I agree : 121 on electric guitar ( I use it with a SM57 every day ). Loved the Coles on acoustic guitar, I should buy one ( I use a Peluso R14 too in my studio ) .... ;) Thanks again for your vids Warren !!
Hi Stud, fantastic!! Thanks for sharing your insight! I really appreciate it! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, here is a suggestion to make such comparisons easier: record the guitar DI and send it immediately to the guitar amp so you can here what you are playing. Then for each mic, you play back your DI signal on the amp and record what you get from the tested mics. What do you think?
Hi Bengt, I think for a non real world experience that would be great! However for me in the real world I understand that as a musician or singer you respond to the sound you're hearing and that is what I want to convey! I recently watched a speaker demo where they did exactly what you are suggesting and my feeling is they missed the mark, the reality is which speaker do you choose to set up a great guitar tone? Is it the darker one, the brighter one? The more efficient louder one? The less efficient one? I like the real world test and frankly I had nothing to gain but tell you honestly how I felt. I hope that clarifies? Have a marvellous time recording and mixing, many thanks Warren
I think you make a very valid point!
I would have expected that the guitar player would hear how he sounded by listening to what came out of the guitar amp. Playing something back in this situation would not interfere with the performance of the guitar player.
What you are saying is that the guitar player is listening to the miced sound of the guitar amp. Thus, also the response of the mic is heard by the guitar player and that he responds by playing differently.
That makes perfectly sense to me. I see why my suggestion would not work in the real world!
Many thanks, Bengt
man these videos are gold!
Aw shucks thanks ever so much Rishabh! Have a marvellous time recording and mixing, many thanks Warren
Coles 4038 attenuates 6db of signal per octave above 15kHz.
I personally prefer it over the others as it seems to reject the non musical.
WARREN!!!! You are a shredder dude!! You should be doing lick videos! Where are the recordings of you??
Have you tried any of the new Stager ribbon microphones? Really interested in hearing how they might compare
Those AEA are great nice but the only NOS parts would be RCA screws for the housing.
Hi Brian, here is quote from Wes Dooley 'Sank gave us a large stack of NOS ribbon material and a ribbon corrugater that AEA still uses to this day.' I hope that clarifies for you? Many thanks Warren
Oh, well that's great, the ribbon is the heart and the transient response of the microphone.
Very insightful! There's not that many ribbon shootouts on youtube. The one i'm REALLY curious about though is that sE electronics Neve microphone
Hi Luuk, agreed! Would love to try that mic!! Have a marvellous time recording and mixing, many thanks Warren
Thank you so much for the comparison video Warren @Produce Like A Pro. Really really fantastic work. For a few years now I've been super interested to hear the tonal differences between the AEA R84 and the Royer 121, especially since I learnt that the AEA R84 was used exclusively by Jeff Beck for the 'Emotion & Commotion' Album in front of his Fender Pro Juniors.
P.S.: When can expect the budget microphone shootout :) ?
Cheers !!!
I have three ribbon nice, I use a pair of Reslos for drum overheads. They seem to capture the impact and transients better than condensers.
Wow fanatic mics Darryl!! Have a marvellous time recording and mixing, many thanks Warren
I loved the colors of the Royer, Coles, and the AEA. The Coles sounded pleasant on the acoustic guitar. I also liked it for the meaty, chunky driven guitar. The Royer was light and pleasant on most everything, but I'd prefer the Coles for a statement that wanted to sound authoritative, and I can definitely hear how it would work well for overheads. I thought the AEA sounded pleasing on the electric guitar, but not on the acoustic guitar. I didn't like the Mesanovic on anything. It just sounded like a condenser mic.
I'm with you on the Mesanovic. Only sounded good to me on the clean electric, if you wanted a super pure "unmic'd" sound. Something in the highs or upper mids got pretty weird in the overdriven parts and on the lows on the acoustic weren't very musical to me (maybe EQ would fix it)... I'd take the Coles and AEA the fastest out of the bunch. For me the most usable on the most sources. Used to own 121s and they got boxy sounding on way too many sources. Good on EG sometimes, lovely on kick drum front or a few feet in front of the kit near kick rim top height. Not that versatile for me though.
I'd like to see a frequency graph to see the low end.
Have you tried the mesas on drum overheads? I'm looking into getting the stereo version, but can't decide between that or getting another Coles and using those as my stereo overheads. The mesa is tempting because its a stereo mic...won't have to mess around with placing two of those massive Coles!
Sweet Guitar Playing Warren! The electric part Kinda reminds me of the pensado's place intro!
Hi Jeff, haha thanks!! I really appreciate the kind words! Have a marvellous time, recording and mixing many thanks Warren
Great videos Warren thanks a lot! It would be great to hear you talking about the other aspects of production besides the engineering aspects (I.e. instrumentation, how to work arrangements of a song from a singer songwriting composition, creating a good vibe for recording, ,etc.) pura vida! Greetings from Costa Rica
Hi Funk, agreed! There are videos on guitar and drum production! I will definitely being doing more!! Have a marvellous time recording and mixing, many thanks Warren
great video. thanks
Thanks ever so much
Warren we tune into your videos so we can see how you use the equipment and get your opinion as someone who makes music for a living !!!
Aw shucks thanks very much Darlene! Yes, I agree there's much more to this than just playing back something stagnant! There is the interaction you feel from the microphone as well as the guitar, the amp and the mic pre! Each mic inspired me differently! Thanks for your great comment! Have a marvellous time recording and mixing, many thanks Warren
The Mesanovic 2 sounds like it would be a great drum overhead in the right room.
@2.52 Warren, when using a ribbon at a distance and a dynamic on the grille, how does one balance the polarity difference because if the ribbon is further away than the dynamic there will be a time difference, whereas if the ribbon is close to the cab it risks damaging the ribbon?