Works equally well on acoustic guitars. As for the Beyer M160 I haven't had the pleasure! 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. When you buy products through links across our site, we may earn an affiliate commission. I especially like it paired with a SDC at the 12th fret. I am looking at either purchasing a Coles 4038 or Royer R-121 and it is a hard decision! The player moving around after you set your mics can make a big difference too. However, we still recommend that you deactivate phantom power when Royer microphones are being connected or disconnected simply While it sounds great on drums, tenor and bari saxes, I don't think you will like it on soprano or flute. When you add some pultec style HF eq, they open up beautifully!! However my favorite ribbon for electric guitar that I've used personally is a Beyerdynamic M160. The Sigma gives electric guitars a "you are there" quality that is just amazing. I have found the Royers to be very sensitive to impedance. 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. For electric guitars Royers. By far my favorite ribbon mic. I do track three & four piece combos from time to time, so having an extra all-purpose ribbon around would be nice. During my tests I adjusted the … The only ones I suspect may come close are the ones by Marik (from SAMAR Audio) aka Dr Mark Fouxman, who afaik is pretty much the leading expert on ribbon mics. The Coles has a very distinctive vintage vibe and is rather dark. 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. The Royer pairs well with UA610, Summit Pres, Millenia and 1073 at 300 ohms. Do tonewoods really matter in building a guitar. Definitely check one out before you buy anything else. they take EQ really well though. For a better experience, please enable JavaScript in your browser before proceeding. 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 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. Mics used were the sE electonics Vr-2, Cascade Fathead, Royer R-10 and the AEA N-22. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is, Please help the original poster by using the. The Cascade Microphones Fat Head II is also known as: Fathead II. 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. FHII Lundahl all day long. The Cascade Vin-Jet with a Lundahl transformer is also worth considering. I have to say that the Coles take high EQ very, very well! 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. 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. I have the Beyerdynamic M160. I liked it so much on tenor sax that I purchased another for other duties - drum overheads, guitar cabs, etc. Royer's legend is akin to the idea that Yamaha NS-10s were good monitors because, "if it sounds good on the NS-10s, it'll sound good everywhere.". Of the 3, the Coles 4038 has always been on my mind as the one I want to own. Royer ribbon microphones are not usually affected by the presence of phantom power. BTW I never use a ribbon on acoustic, not that there's anything wrong with it. What I mean by "sparse instrumentals" is that there will be very few parts and the mic needs to be able to have some fullness. Hey there! 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 always imagine it would sound beefier on guitar cab than the Royer. 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. Like others said, watch the phase. I'm also considering the sE VR1 or VR2 or the Cascade Fathead II w/ Lundahl transformers. Best ribbon mic I've ever heard for guitar cabs is the Sontronics Sigma. Dont think they are really comparable besides the fact that they both have ribbons. It's thick in the midrange but has an open and clear top end. It just "feels" good. I don't own one but I managed to get my hands on one a couple of times and its really a magic bullet when blended with a dynamic mic, especially if you use a cloudlifter in line with it. For your stated applications I would go with the Royer R121. i reach for the 4038s much more than the R84. Royer R-121 Cascade FatHead II Royer R121 vs. Coles 4038 vs. Shure KSM 313 vs. AEA R84: Ribbon Mic Drum Overhead Shootout - Duration: 6:11. soundpurestudios 23,117 views The Royer is excellent and would be my go to mic for cabs. The Royer is way more versatile and has a more modern sound. I combine mine with an Audio i5 but mostly my recorded guitar sound is the FH alone. The top is better, has a bit more depth and realism. I've never gotten to use the Royers which are supposed to be one of the best ribbons for guitars so I can't comment on that one. I mix a lot of stuff tracked by others and get the occasional session that has Coles on the drums. I tested the Royer dBooster mostly with gentle spoken voice into a Royer R10 placed about nine inches away, feeding a GML 8304 preamp. Much better than the other mics mentioned. I guess people do, but I won't take the chance of popping the ribbon. Yummy. Very rich sounding and complex. And call me paranoid, but I will never use my Coles on a vocal, even with a popper-stopper. I also am wondering which mic gives the fullest spectral sound by itself because I plan on doing sparse instrumentals! The Cascade Fat Head II (w/Lundahl upgrade) was part of our $60,000 Ribbon mic shootout. If you want to use a ribbon with your acoustic, the SE has more high freq response. Align the ribbon element with the diaphragm of the 57 the same distance from the grill cloth. What mic would you go with and why? 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. I'm thinking of picking up a ribbon mix to pair up with a 57 for a guitar cab as well as to sometimes use on an acoustic guitar. I'd certainly like to get hold of one, didn't Eddie Kramer use those on Jimi's amps? 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 have one hung permanently about 12" in from of a Fuchs 1x12 Mini cab, and I never think of replacing it. Just wanted to throw the Sterling ST170 in the mix as a newer inexpensive ribbon option. Just a quick note that I already have an AEA R-84 and man do I love that thing! i had a hard time making the same decision... so i bought a pair of both. Also sound good on acoustic guitar, although I still prefer an LDC there. Ribbons mic shoot out on clean, crunch and distorted guitar tracks. Not to move the bar out of what you mention, but out of modern ribbons, I think an R84 would do a better all arounder job than a R121 or Coles 4038. As much as I like R-121's on guitar, I would recommend the R-122 active as it is a little more refined and "HI-Fi" sounding which may be beneficial in your application. Fathead + SM57 is a winning combination, and a fraction of the cost of a $1200 Royer. Again be very careful to check phase between the two mics and experiment with positioning, small movements can make a big difference. I don't use ribbons on vocals. Thanks for your help! Coles has been described as vintage/dark sounding. Thanks everyone for the replies! When I record electric guitars through an amp I always use a combo of a dynamic mic, usually a 57 or a 609, and a ribbon mic. The mic was released in 2007. Obviously there is a huge price difference. You must log in or register to reply here. Ronan, I am looking at ribbons because I really like their sound and I usually don't like condenser mics as much!