Discussion in 'Recording/Live Sound' started by Bassomatic, Mar 5, 2008.
Any experience out there with the Peluso ribbons? Impressions or results?
I bet that if you do a search on Gearslutz you'll find plenty of info.
True - I will later.
I like to ask here, too, as I have a b it more grasp of where the regulars are coming from.
I believe it's based on the Royer R121 which isn't a traditional ribbon, but rather a modern, thicker aluminum ribbon (around 2.5 microns, I believe) for a higher SPL.
I've been looking into the cheaper Chinese models that Michael Joly modifies with new 1.8micron ribbons, Lundahl transformers, etc. More of a Coles 4038 traditional ribbon mic thing. Great for drum overheads. All the recent singer songwriter albums where the drummers are either playin brushes, or just very dynamic w/ more of a 'room mic' setup usually have Coles 4038's as overheads, 57 on snare, Neumann U47 FET outside the kick, and a large diaphragm mic like a U67 or U87 set to omni mode and smashed with compression (usually Distressor) about 4ft high and out front of the set a few feet. It's a very 'jazz' setup, too...Coated heads...If you need more punch from the kick, stick an Audio Technica ATM25 or beyerdynamic M88 in the resonant hole, and still use the FET47 out in front of the skin. Have a tricky hi-hat player? Try a flat SD condenser like the Peluso CEMC6.
People say it's 'dark', but I feel it's 'comforting'. Ever jammed with a drummer on some dynamic material in a small room, but they still are playing 'rock style' as loud as possible? Not only can you not get into it, but it's painful to listen to...IMHO, that's akin to using modern close-mic'ing techniques and bright mic's when trying to capture a dynamic recording.
Ribbons are the ticket!
I know the sound you're referring to, and I love it for a lot of arrangements. My band's been doing something quite similar on tracks for our next album.