Considering I record a lot of local groups who, quite honestly, will never go big time, I'm inclined to go with the Cascade or sE VR models over the Royer, since I already have the M160. I own a pair of VR1s and a Fathead II. I am looking at recording electric guitar,vocals,soprano sax, and flute. The Coles has a very distinctive vintage vibe and is rather dark. Just a quick note that I already have an AEA R-84 and man do I love that thing! The Royer pairs well with UA610, Summit Pres, Millenia and 1073 at 300 ohms. I tested the Royer dBooster mostly with gentle spoken voice into a Royer R10 placed about nine inches away, feeding a GML 8304 preamp. But for el guitars I prefer the fathead. I have used it only on piano. I always imagine it would sound beefier on guitar cab than the Royer. The Cascade Fat Head II (w/Lundahl upgrade) was part of our $60,000 Ribbon mic shootout. Pete Thorn reviewed one a couple months ago and has been using it on recent stuff as well. And call me paranoid, but I will never use my Coles on a vocal, even with a popper-stopper. Bump for more experiences with the Coles. However, we still recommend that you deactivate phantom power when Royer microphones are being connected or disconnected simply The Cascade Vin-Jet with a Lundahl transformer is also worth considering. I have also used the cascades regularly and I think they're great and if I didn't have the Royer I'd be perfectly happy using them. For electric guitars Royers. For a better experience, please enable JavaScript in your browser before proceeding. The Coles Ribbon Mics like the 4038 do seem to have a lot more 3Dness to them than any other similar ribbon mics I have heard... That's because it handles fast transients very well. My usual mic is a Cascade Fathead which gets great results, I prefer the version with the upgraded Lundahl transformer but the stock version works well too. For your stated applications I would go with the Royer R121. The Coles sound great with a really pleasant top end, but sometimes they can be a little too "pingy" on drums .. i.e.. the stick attack can get overbearing. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is, Please help the original poster by using the. i reach for the 4038s much more than the R84. I have to say that the Coles take high EQ very, very well! Hey there! I have also used Royer 121 and vintage RCA 44, but i've not A/B'd the 3 on any sources. Both are great mics, I personally prefer the Coles a little bit more because it has more of the coloration we usually associate with ribbons. Just wanted to throw the Sterling ST170 in the mix as a newer inexpensive ribbon option. What mic would you go with and why? I have gotten drastically modern to vintage, bright to dark just by using different impedances on the mic pre. The AEA N22 will sound good on all those sources and be more usable on vocals and flute with its extended top-end frequency response. The Royer is excellent and would be my go to mic for cabs. Very rich sounding and complex. Again be very careful to check phase between the two mics and experiment with positioning, small movements can make a big difference. When you add some pultec style HF eq, they open up beautifully!! i had a hard time making the same decision... so i bought a pair of both. The Cascade Microphones Fat Head II is also known as: Fathead II. Obviously there is a huge price difference. It just "feels" good. Royer ribbon microphones are not usually affected by the presence of phantom power. While it sounds great on drums, tenor and bari saxes, I don't think you will like it on soprano or flute. It's thick in the midrange but has an open and clear top end. BTW I never use a ribbon on acoustic, not that there's anything wrong with it. Coles has been described as vintage/dark sounding. I am very surprised somebody found it to be thin on guitar cab - never tried it there. Each provides a complimentary emphasis to the other, giving a nice full range sound. Thye main reason the 4038 has a fast transient response, which in turn gives it its 3D quality, is because the mass (thickness) of the ribbon is particularly low relative to other high quality ribbon mic ribbons. I just prefer a blend of an LDC over the player's right shoulder (for a righty) and a SDC pointed at the neck of the guitar from about 18-23 inches away from the soundhole. It's active as well so you don't need a cloud lifter or fethead to boost the gain going into the mic pre - it's got plenty of output on it's own. I guess people do, but I won't take the chance of popping the ribbon. Yummy. I do track three & four piece combos from time to time, so having an extra all-purpose ribbon around would be nice.
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