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#1
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man what great folks. I had been emailing back and forth with Wes about this and that over the last few months and he has always been very gracious and helpful. So I'm in LA for a few days doing some shows with a latin band I work in, and I called AEA about a shop visit. So after rehearsal today I made my way to Pasadena and had a fantastic time over there. I am so grateful for the hospitality they gave me.
The front of the shop is an incredible microphone museum. The old style shotgun mics are a trip to say the least. And they showed me where and how they manufacture and assemble the microphones, including the actual ribbons themselves. so cool. Physics are an amazing thing. so I'm recording my new trio record in January at Nola in NYC and AEA is providing me some mics and pres for the date. I'm looking forward to hearing the new KU4 on my guitar.... well... Charlie's guitar. Yeah, I'm playing Charlie Byrd's Ramirez on my new record. I'm a lucky guy! N |
#2
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On 12/20/2011 2:49 AM, Nate Najar wrote:
man what great folks. Wes and company are the greatest and, as you no doubt know, is a great fan of guitar music.. Glad you got together, and cool about the guitar. -- "Today's production equipment is IT based and cannot be operated without a passing knowledge of computing, although it seems that it can be operated without a passing knowledge of audio." - John Watkinson http://mikeriversaudio.wordpress.com - useful and interesting audio stuff |
#3
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![]() "Nate Najar" wrote in message news:28882483.435.1324367393829.JavaMail.geo-discussion-forums@yqba2... And they showed me where and how they manufacture and assemble the microphones, including the actual ribbons themselves. so cool. Physics are an amazing thing. Intresting comment given that if you really understand the physics of making good microphones, ribbons are probably not the best way to go. Ribbon mics are legacy technology and give you a bunch of hard-to-change parameters in a figurative sealed bag. If they do what you want that is great, but if you need something else, making big changes inside the bag is tough. That all said, I'm having fun with two CAD 1700VPs and a CAD 1800VP. They would be an example of opening up the sealed bag of parameters just a little. |
#4
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Nate Najar wrote:
man what great folks. I had been emailing back and forth with Wes about this and that over the last few months and he has always been very gracious and helpful. So I'm in LA for a few days doing some shows with a latin band I work in, and I called AEA about a shop visit. So after rehearsal today I made my way to Pasadena and had a fantastic time over there. I am so grateful for the hospitality they gave me. The front of the shop is an incredible microphone museum. The old style shotgun mics are a trip to say the least. And they showed me where and how they manufacture and assemble the microphones, including the actual ribbons themselves. so cool. Physics are an amazing thing. so I'm recording my new trio record in January at Nola in NYC and AEA is providing me some mics and pres for the date. I'm looking forward to hearing the new KU4 on my guitar.... well... Charlie's guitar. Yeah, I'm playing Charlie Byrd's Ramirez on my new record. I'm a lucky guy! N Congrats on all of that, Nate! -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
#5
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Arny Krueger wrote:
Intresting comment given that if you really understand the physics of making good microphones, ribbons are probably not the best way to go. WTF, Arny? A bunch of bad turkey for Thanksgiving or something? -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
#6
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![]() "hank alrich" wrote in message ... Arny Krueger wrote: Intresting comment given that if you really understand the physics of making good microphones, ribbons are probably not the best way to go. WTF, Arny? A bunch of bad turkey for Thanksgiving or something? Strange comment given how ballistic you went over my comments about the simplistic eq in that guitar preamp. More to the point, is there any actual informed technical comments about the point that I am raising, or comments about the alternative, namely modern mics with bidirectional patterns. |
#7
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Arny Krueger wrote:
Intresting comment given that if you really understand the physics of making good microphones, ribbons are probably not the best way to go. You're joking, Arnyn't you? One of the desirable characteristics of an acoustic transducer is that it should have a very low unit mass. That is, its motion should be heavily damped by the air around it. This greatly reduces the reactive component of its movement. Why do you think (true) ribbon speakers and mics are generally well-respected for their sound quality? Now, if you want to raise issues about the need for a transformer to increase its output, or the general fraGEELity * of ribbon transducers, I won't argue. But you said "the physics of making good microphones". * It's almost Christmas. I couldn't resist. |
#8
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![]() "William Sommerwerck" wrote in message ... Arny Krueger wrote: Intresting comment given that if you really understand the physics of making good microphones, ribbons are probably not the best way to go. You're joking, Arny aren't you? Not at all. One of the desirable characteristics of an acoustic transducer is that it should have a very low unit mass. That is, its motion should be heavily damped by the air around it. This greatly reduces the reactive component of its movement. Why do you think (true) ribbon speakers and mics are generally well-respected for their sound quality? AFAIK, that would be a made-up fact. Even among just professional microphones and speakers, ribbon transducers represent only a tiny fraction of the market. IOW, just about everybody avoids them just about all of the time. Now, if you want to raise issues about the need for a transformer to increase its output, or the general fraGEELity * of ribbon transducers, I won't argue. But you said "the physics of making good microphones". I can still remember when professional audio people working in the mainstream took ribbon mics very seriously. Like in the early 1950s. What is the dominant microphone technology for profesional mics, today? What are the top two dominant microphone technologies for professional mics, today? How about 10 years ago? What technology is used to build the most mics with serious pretentions to high quality or even highest quality? What is the market share of ribbon mics in the professional market? I suspect that even among bipolar microphones for professional use, ribbons are in the minority. I rest my case * It's almost Christmas. I couldn't resist. |
#9
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Arny, there's a huge distinction between quality and popularity.
Yes, most high-quality mics are condenser. They're more-rugged than ribbon mics, and have higher output. So what? That doesn't mean ribbon mics aren't of good quality. |
#10
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![]() "William Sommerwerck" wrote in message ... Arny, there's a huge distinction between quality and popularity. Yes, most high-quality mics are condenser. They're more-rugged than ribbon mics, and have higher output. Condensors are also far easier to build with a variety of useful acoustic characterstics. Yes, there have been ribbon mics with various directional patterns, such as the once-popular RCA 77 unidirectional mic. Ribbon mics are often very fragile in comparison to condenser and dynamic mics. Often they have proven to be diasterously fragile. Ribbon mics also tend to be soft at higher frequencies. Check out the response curves at the AEA web site such as: http://www.ribbonmics.com/aea/KU4.html http://www.ribbonmics.com/pdf/R44-A4...al_Dec2009.pdf http://www.ribbonmics.com/pdf/A840_T...nesheet_v2.pdf I don't see anything there that couldn't sound good in the right situation. But, in terms of range and smoothness, they are eclipsed by more modern technology. So what? Perhaps you might speak differently if you worked with mics all the time, particularly while recording in the field and also while doing live sound. I let teenagers and untrained adults use condensor and dynamic mics quite casually all of the time. Would anybody do that with ribbons? Not to say they can't be used that way, just that using them that way would involve some inconviences. That doesn't mean ribbon mics aren't of good quality. I never said that ribbon mics aren't of good quality in some sense. However, they often have these fairly profound inherent practical limitations. |
#11
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Nate Najar wrote:
man what great folks. I had been emailing back and forth with Wes about this and that over the last few months and he has always been very gracious and helpful. So I'm in LA for a few days doing some shows with a latin band I work in, and I called AEA about a shop visit. So after rehearsal today I made my way to Pasadena and had a fantastic time over there. I am so grateful for the hospitality they gave me. The front of the shop is an incredible microphone museum. The old style shotgun mics are a trip to say the least. And they showed me where and how they manufacture and assemble the microphones, including the actual ribbons themselves. so cool. Physics are an amazing thing. so I'm recording my new trio record in January at Nola in NYC and AEA is providing me some mics and pres for the date. I'm looking forward to hearing the new KU4 on my guitar.... well... Charlie's guitar. Yeah, I'm playing Charlie Byrd's Ramirez on my new record. I'm a lucky guy! N Nate, How would one get a copy of your recording? I have an mono LP of the Charlie Byrd trio (Keter Betts, bass and a 21 year old Buddy Deppenschmidt, drums. It's an outstanding disc, both from the artisitic side and from the production side. I'd love to hear your efforts on that same guitar. Mike |
#12
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Mike Clayton wrote:
Nate Najar wrote: man what great folks. I had been emailing back and forth with Wes about this and that over the last few months and he has always been very gracious and helpful. So I'm in LA for a few days doing some shows with a latin band I work in, and I called AEA about a shop visit. So after rehearsal today I made my way to Pasadena and had a fantastic time over there. I am so grateful for the hospitality they gave me. The front of the shop is an incredible microphone museum. The old style shotgun mics are a trip to say the least. And they showed me where and how they manufacture and assemble the microphones, including the actual ribbons themselves. so cool. Physics are an amazing thing. so I'm recording my new trio record in January at Nola in NYC and AEA is providing me some mics and pres for the date. I'm looking forward to hearing the new KU4 on my guitar.... well... Charlie's guitar. Yeah, I'm playing Charlie Byrd's Ramirez on my new record. I'm a lucky guy! N Nate, How would one get a copy of your recording? I have an mono LP of the Charlie Byrd trio (Keter Betts, bass and a 21 year old Buddy Deppenschmidt, drums. It's an outstanding disc, both from the artisitic side and from the production side. I'd love to hear your efforts on that same guitar. Mike Bet it'll turn up here when it's fully baked and wrapped: http://natenajar.com/store/ -- shut up and play your guitar * http://hankalrich.com/ http://www.youtube.com/walkinaymusic http://www.sonicbids.com/HankandShaidri |
#13
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On Tue, 20 Dec 2011 13:32:44 -0500, Arny Krueger wrote
(in article ) : Ribbon mics are often very fragile in comparison to condenser and dynamic mics. Often they have proven to be diasterously fragile. Not any more. Regards, Ty Ford --Audio Equipment Reviews Audio Production Services Acting and Voiceover Demos http://www.tyford.com Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA |
#14
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hank alrich wrote:
Bet it'll turn up here when it's fully baked and wrapped: http://natenajar.com/store/ I bet your bet is right too Hank! Thanks a bunch and happy holidays to you and yours. Hope the snow isn't too deep at your mountain hideaway. Mike |
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