m160 mono overhead

Because ambient mics like this are commonly compressed hard and used to add punch to a mix, we ran the takes through a UAD1 1176SE compressor plug-in, set fairly aggressively to simulate the sort of treatment this positioning would probably receive. Great for those wanting that sort of very vintage (dark) sound on a tight budget. 2. The views expressed are those of the contributors and not necessarily those of the publishers. The top-end extension would mean that supplementing the warmth with a condenser wouldn't be necessary. But now that you know what to look for, choosing should be a breeze. We also felt that the low mids were a bit messy, and the kick sounded quite boxy, with none of the punch of the Coles, the R1 Mk2, or even the little R2. The vocalist liked how she could 'hear everything'. The Sontronics Sigma and the Groove Tubes Velo 8 tied for that crown (which to choose comes down to how extreme an effect you are looking for), but we felt the little GA R2 would make a good budget alternative. The Coles 4038 also had the potential to be a favourite, and I'd like to have spent longer with it and got to hear it on more sources. If what I say is true for all bands, it is even more for the M160. Height 10” (25.4 cm) It was lovely and balanced and, thanks to the tube, gave a scratchy top ("but in a good way"), that we felt would help the guitar to work really well in the wider context of a mix. Of course, if you're able, it is still a good idea to audition mics before you decide to buy, particularly in the case of vocals, where different singers tend to work better with different mics. [/quote] It's an interesting point - in theory I would have agreed but I've found that in my experience, the coles actually gives me a very tight, dry and focused sound - much less room tone than most other mics (especially condensors) that I have tried. Allow at least 65dB of gain without breath you use them correctly. We also recorded the guitar via an Oktava MK012 with cardioid capsule as a 'control' condenser comparison. It was still our favourite all-rounder, though, and we thought it very classy. 140 watts continuous from 20Hz to 20kHz. The mics in our shootout fell into three rough price groups, which equated fairly well with how and where they were made. QUALITY. We felt it would make a great first tube/ribbon mic for someone seeking some tube character, with the advantage of having that big, warm ribbon lower mid-range. View Latest Price. We generally felt that, 'ess' strangeness aside, it was competent but a little lacking in ribbon magic when compared with some of the other mics on test. As on vocals, we found the impedance switch acted as an 'HF and detail' control, giving useful variation to a fundamentally lovely smooth tone. I found that this mic worked better when blended with the Royer R121. At first, we felt it was simply dull (the singer told us that "it sounds like I'm singing under a duvet"), but once we'd put our ears in 1950s mode and donned the studio smoking jackets, we started to appreciate the smoothness in the mids and were charmed by the sheer jazziness of this mic. It gave a huge, round sound, adding some real thickness to the bass drum and the overall kit.". Greg's impression was favourable: "The front gave a smooth sound, with good detail and emphasised mids; the rear, a smooth, silky sound, with good detail, but without being bright.". This may be said to be a tube characteristic, but it was excessive, and the result was a nasal sound that didn't suit this particular voice at all. Surprisingly bright, the Coles sounded quite 'hi-fi', with a less obviously rolled-off top than some of the others — quite neutral. Opinion was split on the Sontronics Sigma, until we all started to understand where it is coming from — which, really, is a slightly different place from most other mics on test here. We rather liked the sound of the R2 on acoustic guitar. Oddly, despite it feeling similar to the Royer in some applications, on acoustic we thought the M160's aggressive middle (so useful on drums — see below) was a bit much on acoustic guitar. The M160's on-axis response has much in common with the Royer R121, in exhibiting quite a 'lump' at around 4kHz, which, although unpleasant on this particular vocalist, is actually very smooth, and we felt would help some singers' voices cut through a mix. InSight – Audio Research Past, Present, and Future, Audio Research Announces: REF160S Stereo Power Amplifier, SoundStage! R-121 Studio Ribbon Microphone Released in 1998, the award-winning R-121 is our flagship microphone; the world’s first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. Punchy on heavy, palm-muted, distorted guitars.

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