It was detailed to some degree, but I found myself asking what sources this microphone would work well for.". Sontronics Sigma. PreSonus StudioLive 32SC Series III Mixing Console. What is a "hybrid" audio interface anyway? by tiger vomitt » Mon May 29, 2006 8:48 pm, Post We found this to be generally very clear and detailed with a surprisingly extended top-end compared with the other ribbons on test. Jon Cotton is a producer, composer and string arranger based in Birmingham. Our only criticism was that it might be a little too polite for some pop vocal applications, where a more obviously warm sound might be more fitting. ...serving the creative recording community since 2001... Post They are also the balls on gtr amps. The R1 Mk2 was very nice and balanced, with a more recessed mid-range than the Royers or the Coles. Using the front side, it almost made the guitar sound like a Fender Strat by pulling up the body so much. We really liked the R2 in this role — it had a lovely kick and snare drum ring, and some of the character of the Sontronics Sigma. Why Are Some A-B Stereo Arrays Angled Outwards? Mastering Essentials Part 3 - How loud should I master? One of the most detailed ribbons on guitar, it seems to pick up less of the room somehow. The panel described the Mk2 as "even, smooth and with more presence than many of the mics on test." It has much of the same character as the R1 Mk2, but with what feels like an extra layer of euphony, presumably from the transformer. Initially one person felt they could hear some 'zippy' distortion high up, rather like a valve mic, and another felt that the extreme top was a little lumpy, with some audible resonances. The Coles 4038 and Beyer M160 showed why they're some people's first choice for this application. Post by ted dawg » Tue May 30, 2006 3:41 am ... i know only from a musician standpoint as i'm very inexperienced 'engineering,' but I know that I've never lost with an m130, m160, or 4038. Our only minor niggle was that two of our panel felt there was 'something missing' in the upper mid-range. 'Robust' and 'musical' were the first adjectives that sprung to mind when listening to the R1 Mk2. I would like to use them as drum overheads. Greg agreed, telling us that he found it gave "reasonable detail, but was lacking in character. by Russian Recording » Wed May 31, 2006 10:51 am, Post In general, the higher-end mics tend to be more consistently useful, but our choices weren't as tied to cost as we had at first expected — and this points to there being ample room in the market to find some real bargains, which will be good news for home and project studio owners. The Sigma prompted immediate 'coools' across the room when we brought it up. The SE R1 came across as muffled but musical. However, to assist you in making your own mind up, we've also placed some audio files on the SOS web site (www.soundonsound.com/sos/dec07/articles/ribbonmicsaudio.htm). Despite its great showing on the vocal tests, this mic sounded phasey and too coloured on our drum kit, with splashy, sibilant cymbals. See our comments for the R1 Mk2, below. Average Score: 4.5 ( 4.5/5 based on 6 reviews ) 3 reviews: 50 % : 3 reviews: 50 %: Value For Money : 10/02/2012. That said, we also felt it was able to cut through the mix in a similar way to the Royer, which, given the price difference, was quite a surprise. Despite this rather negative first impression, its character grew on us throughout the session. The entire range was neat and contained, and it brought out the musicality of the performance. As with the lead vocal tests, we found the hypercardioid pattern to be helpful in minimising room sound as well and, of course, the mic was very easy to position. The Sigma is too dark to use as a general-purpose overhead pair; however as soon as we asked the drummer to switch to playing some brushed jazz, their raison d'être became immediately apparent.