Mic purchase considerations and input?

[JoJoB3]

I'm considering purchasing a couple ribbon mics for the home studio and looking for input in regard.
Medium sized home studio, thick carpeting, lower ceiling with older acou tiling, nice tight and warm sound.  Control/Mix room very similar, just enough odd angles and good sounding.
Preamps range from 2chan 1073ADA, Trident S20s 2 ch, along with A&H board at 24/88, or occasionally x32 or XR18 units at 24/48.
Room filled with quality vintage key staples (wurly, rhodes, Hammond, piano, vintage synths and modern), decent drum kit, bass amps and more.

* Converter updates - always considering an update. The latest being the UA Apollo 8/8P (dual, 16ch) for varied reason (but not sold yet and not rushing to any decision) but it would offer a nice converter upgrade in process.  I am PC here and read of some hurdles in regard (+ sys is powerful enough where offloading processing to UA not as crucial here).

Mainly tracking live (duo to sextets) among solo tracking for others.

Mics I'm considering purchasing (based on a local deal from seller I simply shouldn't ignore).

1 Royer R-121 (w mono cloudlifter)
Pair of Coles 4050 (with stereo cloudlifters)
Pair of Cascade Fathead II mics
RE20 

The pricing is a steal from the usual on Reverb, ebay, etc.  but would like to hear from those who have experienced these in any capacity.
Most might say "these are no brainer staples - get em".

It is over my budget a bit (but sale price would be silly to ignore here) but what other like mics should I be keying on that perhaps come close to these (perhaps even more useful/multitasking and perhaps even more affordable)?  Love to hear from those experienced.
Thanks so much

[Paul Vnuk Jr.]

The Royer R-121 is an amazing mic and perhaps the most modem and versatile of the bunch. I purchased mine over 20 years ago and still use it all of the time on almost every session. 
 

it’s also impossible to argue with a pair of Coles 4038 mics. These ARE the classic British ribbon sound. I have used them often in the past, but still don’t own a pair. I hope to someday. 
 

While not a ribbon mic, the RE20 is a stone cold classic that every serious studio should consider owning. 
 

the only mics I am “meh” on are the Cascades. These are part of the “inexpensive ribbons as vibe” family. Usually this translates as dark and rich. I had a pair of Cascades years ago and eventually got rid of them for the simple fact of getting better ribbon mics that sounded amazing like a ribbon mic should vs just being vibey. 
 

Again, not bad mics but how often will you really reach for them with A list contenders like the Royer and Coles on hand. 
 

All that said, if this is a take it, or leave it package deal for a good price, then you’ve got nothing to lose on any level with all of the mics in this package. 

 

[KuruPrionz]

Paul's observations and experience above are not to be ignored. 

If you are shopping, I can recommend a couple of options that have not been mentioned but that I do enjoy using. 

RE20 is truly a great mic. For another flavor of large diaphragm dynamic mic, consider the Heil PR-40. 

If you aren't already overloaded with large diaphragm condenser mics, the Microphone Parts T-67 kit was an easy build and huge bang for the buck. 

 

Cheers, Kuru

[JoJoB3]

On 12/24/2023 at 2:06 PM, Paul Vnuk Jr. said:

The Royer R-121 is an amazing mic and perhaps the most modem and versatile of the bunch. I purchased mine over 20 years ago and still use it all of the time on almost every session. 
 

it’s also impossible to argue with a pair of Coles 4038 mics. These ARE the classic British ribbon sound. I have used them often in the past, but still don’t own a pair. I hope to someday. 
 

While not a ribbon mic, the RE20 is a stone cold classic that every serious studio should consider owning. 
 

the only mics I am “meh” on are the Cascades. These are part of the “inexpensive ribbons as vibe” family. Usually this translates as dark and rich. I had a pair of Cascades years ago and eventually got rid of them for the simple fact of getting better ribbon mics that sounded amazing like a ribbon mic should vs just being vibey. 
 

Again, not bad mics but how often will you really reach for them with A list contenders like the Royer and Coles on hand. 
 

All that said, if this is a take it, or leave it package deal for a good price, then you’ve got nothing to lose on any level with all of the mics in this package. 

 

Geez, I don't get notified of replies. Sorry.  Thanks for the advice!

It was one of those perfect storm situations where ya 'had to'.   I aim to always buy good used first and just so happened to be in line of sight of some very well kept gear at very (very) right prices from a kind older gentleman who's enjoying retirement.

The Royer 121 sounds sooo damn good I'm now on hunt for a 2nd.  Even just a single center, 1-2ft from middle of Leslie 122 cab is insane amounts of yes. Gtr cab also a no brainer.   Same for the Cascade FHii's, so far sounding gorgeous. A different tone from the 121 of course but an enjoyable one that surprised me. Great on horns, ac piano, Rhodes, and drum OHs so far.  The Royer 4050 pair was gone but good gawd I wanted to.

Problem is I've now gone somewhat preamp nuts but this pair of SCA N72 here are off the flipping chain. So glad a friend hipped me to a seller.

Also I have to defend/salute Warm Audio on what they've done recently.  Got to try their WA-273EQ for a week expecting nothing (to less than that)... and in the end decided to buy one good used.  Sounds ******* fantastic. No, it is NOT a Neve but instead it's own thing and sound (of which it does splendidly). I was expecting trash. No no.  Same with their WA-412 and although they are NOT APi they ARE damn good sounding and useful pre's.  I think anyone slagging this company might have a screw loose.

Time to pause the GAS, get rid of a bunch of other items going unused, and record some vintage instruments


 

[Dave Bryce]

I’ve actually just acquired one of Royer’s R10 mics along with one of their dBoosters.  I’ve been using it on my piano, and have been surprised and delighted with the results.  Really natural and full sounding, and way easy to position.

 

I've been A/Bing the dBooster with one of my Cloudlifters, and frankly the dBooster has a cleaner, sweeter, more coherent sound.  Been switching back and forth between the +12dB and +20 dB setting, and I think I like the +12 a bit better - feels a bit more dynamically sensitive.

 

Also, I’ve found that the channel compression from my SSL SiX that I would normally use on my piano mic isn’t really necessary with the R10 and dBooster.

 

dB

[KuruPrionz]

I have a Cloudlifter and it's a good unit but I'm plugging into a Cathedral Pipes Durham MKII lately. Partly because the form factor is more compact. It's hard to rack a Cloudlifter, it's just that bit too large with those feet! The Cathedral Pipes does sound really nice though...

[Dave Bryce]

I’ve never heard the Durham, but I’m told the technology is similar to the Cloudlifter.

 

What got me interested in the dBooster is because it was made by Royer, who I believe pioneered the active ribbon mic circuit.  I’ve heard nothing but good things about it for years, and was curious what all the fuss was about.  So far, I’m pretty impressed.

 

dB

[KuruPrionz]

20 hours ago, Dave Bryce said:

I’ve never heard the Durham, but I’m told the technology is similar to the Cloudlifter.

 

What got me interested in the dBooster is because it was made by Royer, who I believe pioneered the active ribbon mic circuit.  I’ve heard nothing but good things about it for years, and was curious what all the fuss was about.  So far, I’m pretty impressed.

 

dB

It is similar in sound to the Cloudlifter. I haven't done any noise level testing, I'm not equipped for that. Both are quiet in my studio. I don't own any ribbon mics currently, just condenser and dynamic mics. I did own an inexpensive CAD ribbon mic for a while but it wasn't essential for me so somebody else owns it now. I haven't tried the dBooster yet. 

[KuruPrionz]

OK, my microphone choices.

 

Dynamic mics.

A Shure KSM8, excellent for vocals both recorded or live. 

A Heil PR-40, smooth full response, good for everything.

An Electro-Voice Raven mic, a bright dynamic mic. Backup vocals and 12th fret on acoustic guitar, both good places for this mic. 

A pair of EV ND767 mics. The handles are plastic and both of them broke off, the mic bodies are skinny and straight but these are great for vocals and everything else. 

 

Condenser mics.

Blue Encore 300 small diaphragm condenser mic. Good for everything

Mic-Parts T-67 large diaphragm condenser mic - I bought the kit and built it. Works perfectly, always has. Not sure current price but the bang for the buck is off the charts. Emulation of the Neumann U-67.

MXL 990 upgraded with a Mic-Parts kit, capsule and circuit board with transformer. 

MXL 1006BP gutted and upgraded with another Mic-Parts kit. I had to bend the mount frames but the screw holes lined up perfectly with the circuit board.

One of the MXL mics has the Mic-Parts T-12 capsule and circuit, an emulation of the AKG C-12. The other MXL mic has the Mic Parts T-47 capsule and circuit, a bow to the Neumann U-47 mic.

 

I've had great results using Mic-Part kits, Kudos to Matt McGlynn!!!

 

[JoJoB3]

7 minutes ago, KuruPrionz said:

OK, my microphone choices.

 

Dynamic mics.

A Shure KSM8, excellent for vocals both recorded or live. 

A Heil PR-40, smooth full response, good for everything.

An Electro-Voice Raven mic, a bright dynamic mic. Backup vocals and 12th fret on acoustic guitar, both good places for this mic. 

A pair of EV ND767 mics. The handles are plastic and both of them broke off, the mic bodies are skinny and straight but these are great for vocals and everything else. 

 

Condenser mics.

Blue Encore 300 small diaphragm condenser mic. Good for everything

Mic-Parts T-67 large diaphragm condenser mic - I bought the kit and built it. Works perfectly, always has. Not sure current price but the bang for the buck is off the charts. Emulation of the Neumann U-67.

MXL 990 upgraded with a Mic-Parts kit, capsule and circuit board with transformer. 

MXL 1006BP gutted and upgraded with another Mic-Parts kit. I had to bend the mount frames but the screw holes lined up perfectly with the circuit board.

One of the MXL mics has the Mic-Parts T-12 capsule and circuit, an emulation of the AKG C-12. The other MXL mic has the Mic Parts T-47 capsule and circuit, a bow to the Neumann U-47 mic.

 

I've had great results using Mic-Part kits, Kudos to Matt McGlynn!!!

 

You can do plenty of damage with that mic closet. 

I needed some decent ribbons and couldn't pass on a deal for an orig 421 and the cascade fathead II pair have been great on horns/sections, leslie 122, drums, gtr amp, rhodes cab, etc. Not ot my fave for ac piano but perhaps I need more time with positioning.
I almost picked up that same Heil.  Love the Shure KSM (KSM 32 here. Makes for a great room mic or HHat/Snr, great on vocals despite what some reviewers say).

[KuruPrionz]

8 hours ago, JoJoB3 said:

You can do plenty of damage with that mic closet. 

I needed some decent ribbons and couldn't pass on a deal for an orig 421 and the cascade fathead II pair have been great on horns/sections, leslie 122, drums, gtr amp, rhodes cab, etc. Not ot my fave for ac piano but perhaps I need more time with positioning.
I almost picked up that same Heil.  Love the Shure KSM (KSM 32 here. Makes for a great room mic or HHat/Snr, great on vocals despite what some reviewers say).

I used to own a KSM 32, great mic! I also owned a Shure KSM 44, their top of the line large diaphragm condenser mic. That one had a 3 way switch - Cardioid, Figure 8 and Omni. My T-67 will do cardioid and Figure 8, the MXL mics are cardioid. There are LOTS of fantastic mics on the market now. I rarely use 3 mics, sometimes 2 and usually just one. I also have a Tech 21 Q-Strip and that's my go-to for bass and sometimes acoustic guitar. 2 quasi-parametric mid range EQs, low mid and high mid. Plus bass and treble. If you can get your tones correct going in it saves time when mixing. I can get some great tones with my Tech 21 Para Driver DI too. That has a SansAmp for distortion but unlike most distortion pedals there is a Blend knob so you can mix clean and distortion tones. That's a great feature. It also has a single quasi-parametric mid band. Love Tech 21 gear, they have features that I enjoy and use.