David Bowie's producer-Tony Visconti-recommended this mic to me for my vocals, and over the years it has been a phenomenal all-rounder! Fantastic on electric guitars both clean and dirty; overheads, and for the Glyn Johns technique; piano; and of course, my very own bass/baritone voice. It works on pretty much everything! Just don't mic a bass cab with it. Geoffrey Daking of Daking Audio told me it was his favorite mic too. Glyn Johns paired an M 160 with an SM57 on Eric Clapton's amp while recording the album "I Still Do."
No, but watch this: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-z557G8kd58k.html Forward to 24:01, then go to 29:58, and then to 30:00. You'll see the set up.
I was engineering with producer Jeremy Green on a session, and he put my vintage M160 on a bass cab - it did NOT like it at all. I thought that he had blown the ribbon at the time, but it still works fine.
The m160 is actually one of the only Hyper cardioid ribbon microphone on the market, so it's the right position on the vidéo ! But you are right about the position for the "normal" ribbon mic with their Figure of eight directivity as the m130
@@MsSiruss No it's not. I am not talking about the orientation of the mic, I am talking about the orientation of the dot. The mic has to be turned inside the clamp so the dot faces up and the ribbons are oriented vertically.
@@NameNaameNameeNaamee Are you talking about the position on the drum set or the position on the guitars? If so what is the principle that you were going for? I can see the importance of knowing the direction of the ribbon if you are combining it with other microphones in a mid side, XY or other types of recordings but is there a difference if it's just the one mic in it's position and pointed towards the source. This is an end-address mic?
The beyer ribbon "ball" mics are cool but they're still too hyped on the high end freqs compared to most high quality ribbon mics (not talking the cheap modern preamped ones or the ones with ribbons over about 1.8 microns and too strong magnets in the motors - those all have problems, pretty much and they can't give the true reproduction of natural sound that a great ribbon can).
TiqueO6 I don’t think they are hyped. It’s a classic mic used on records by The Who and Hendrix. Their engineers wouldn’t have used a microphone that was anything less than classy and respectable. If anything, the M160 is missing high end information, like all ribbons, except they happen to have a bit more of it than most other ribbons, by comparison. This is called a “more extended top end,” which doesn’t necessarily make it hyped. A Neumann Km184 is hyped. This mic isn’t, really. Something like the Royer 121, Coles 4038 or AEA R84, which are super rich in bass and very dark colored, are super dark mics. I love how they sound, but they’re not ideal on every guitar part in a mix. I would say the Beyerdynamic gives you a sound that cuts better in a mix, if anything. If it sounds too bright here, it might not be the microphone’s fault, it might be the source they are using. A Royer 121 is not better than an M160. Some people even prefer the M160. They’re just different.
I know most use the M160 on guitar cabs, which is a great application, but for me it is the BEST mic I have ever used on tenor sax for a contemporary sound. (I'm a sax player / multi-instrumentalist.) I just bought a second one to use as drum overheads and just simply to have another in my mic locker. I've read where a lot of guys are using them on drum overheads in smaller rooms where the acoustics are not that great, which is where their hypercardioid pickup pattern helps in creating a focused & tight sound.
@@TheFlightofthewalrus Yes maybe I was a little too are saying their “ hyped” , If I was to choose a bright ribbon Mike this would be probably one of the only ones I would choose because even though it is bumped in the high end it’s much less artificial then condenser mics. I still stand by my 1.8 µm or lighter principal for ribbon mics. Not really interested in the durability of the Mike, if you’re careful you can position the mic in such a way that even a light white ribbon is safe enough. But the trade-off durability for sound is not really an option. Also the use of the neodymium magnets will be controversial and case in point the new Stager ribbon mic line includes an Alinco magnet option. The overly strong flux of the neodymium magnet restricts the movement of the ribbon producing nonlinear response. I’m still for all Dash ribbon sessions whenever possible though. Mixing condenser microphones and ribbon Microphones on the same session is a recipe for causing all of the ribbon mics to sound “dark” and “dull” in comparison.
they use that same guitar setup for all the reviews, i fucking hate the sound of that electric guitar setup, and the acoustic seems like it's placed aiming at the soundhole??? i appreciate the review but i will need to find more to get an idea.... a little variety would help
I would’ve thought that aiming it at the Sound Hall would’ve produced way too much for me proximity effect but perhaps that is one of the biodynamic models that has a built-in rolloff or “HPF“? If so it’s a good example of how one can not be as messed up by proximity effect using this mic.
Out of time? The drummer sounds fine to me. Are you sure you're not getting time and syncopation/beat displacement mixed up? He tends to avoid ending fills on beat 1, like your typical rock drummer, which creates more tension.
