In effect, posing one of these questions tells the world you’re an amateur. But I hope that by explaining why the questions don’t have the simple answers a rookie expects, you’ll appreciate how an experienced engineer thinks about each problem, and be better equipped to identify gaps in your own knowledge.

Questions

1. What are the best EQ settings for guitar?
Or its many variants: “What are the best compressor settings for vocals,” “what reverb settings should I use for mastering,” and so on.

This question has a straightforward answer: The best settings are the ones that sound right. But for most beginners, who haven’t yet learned critical listening skills, this advice seems trite.

Unfortunately, any other answer is meaningless. Every track, in every song, has its own unique requirements. And the best settings, for EQ or compression or any effect, are dictated solely by the requirements of the song. (See the Rule of Mixing for more.)

2. Which is the best microphone?
We’d all love to own a U87 or a C12. But engineers covet those mics because they’re reliable and versatile, not because either is inherently superior. In fact, there are as many ways to define “best” (and for that matter “worst”) as there are sounds to record. As with the question above, what’s best ultimately depends on what fits the song.

3. How do I record my song to sound like The Foo Fighters?
This question stems from the misconception that The Foo Fighters, or any band, sound the way they do because of their equipment. Acquire the same instruments and mics, the thinking goes, and you can duplicate their recordings.

Most professional recordings have deceptive clarity. They sound, at least to listeners unfamiliar with the process, as though they should be easy to reproduce. But the question above has only one honest answer. To sound like The Foo Fighters:

• Buy quality instruments, and learn how to play them well.
• Write songs suitable for the genre.
• Arrange those songs to support Foo Fighters-style production.
• Practice. Lots.
• Record in a great live room.
• Spend time on microphone selection and placement.
• Play every part till you get it right.

In other words, there are no shortcuts, and it’s not easy. Great recordings take time and talent.

4. What vocal chain does Paul Simon use?
Also commonly worded as “I want to sound like John Mayer. Which microphones and settings should I use?”

Beginners ask this question assuming that we can recreate a track by knowing how it was recorded. Unfortunately, even if you bought Paul Simon’s complete signal chain, you’d have little success matching his recordings. His voice, and John Mayer’s voice, and of course the voice of any famous musician, is unique, as are his performances.

To sound like Paul Simon, in short, you need to have him sing your vocal

5. How do I remove the room’s ambiance from a recording?
Conceptually, it makes sense that since we use reverb to add depth, there must be some way to reverse the process.

There isn’t. If you don’t notice until you’re mixing that a guitar track has too much room sound, you have 2 options: Live with the sound, or re-record.

6. Is this mix finished?
Rookie engineers like to think there’s a golden standard sound to which they aspire, and once they’ve attained that sound, their mixes will thereafter be perfect.

We should be so lucky! In truth, our learning never stops. We continue (hopefully) to improve, but none of us is ever done acquiring knowledge, as true of recording and mixing as it is of life. But this is OK. Learning, after all, is the fun part!

To the question: As a general guideline, a mix is finished when it best represents the song. Of course, “best” is open to interpretation here as it is everywhere in recording. You need to use your ears and your gut, and make the call when it feels right. In other words, only you know when the mix is finished.

Unless someone has paid you, in which case the mix is done when the deadline arrives.

Finally, a surefire question to signal your newbie status to the world:
7. How do I use this $1,200 plugin that I just happen to have installed on my machine?
Answer: You read the manual, which comes with the software when you buy it legally.

In Closing

You’ll out yourself as a novice by asking these questions of an experienced engineer. But really, there’s nothing wrong with that. In some senses, we’re all amateurs.

Take the colleague of my friend Paul, who once asked him, “what does a compressor do?” The question seems innocent enough until you learn that this colleague has been a film industry sound engineer for over 20 years, and has worked on dozens of major motion pictures. Of course, Paul now has difficulty taking his colleague seriously as an audio professional. But the guy still works on movies as a sound engineer, so the anecdote should be comforting for the rest of us amateurs!

See Also: Tips for more professional recordings

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But cheap doesn’t have to mean bad. With a little effort, even the most cost-conscious mic owner can capture great sounds.

To that end, here are 7 tips for getting the most from your cheap microphones.

1. Understand your mic’s shortcomings.
Correct use of a mic depends on knowing its characteristics, and cheaper mics tend to share some common traits. Cheap condensers can sound overly bright and tinny, where their dynamic counterparts tend toward a boxy, midrange sound. Keeping this in mind will help you decide when and where your mic should be used.

2. Don’t assume your most expensive mic is best.
If you have several microphones, and especially if you have a choice between different types (condenser, dynamic, ribbon,) resist the temptation to reach for the most expensive mic every time. Many professional engineers, with gear lockers full of names like Neumann and Earthworks, still swear by the SM57 for certain tasks. What’s “best” changes from musician to musician, and instrument to instrument. So try all your mics, and record with the one that sounds best, even if it didn’t cost the most.

3. Adjust the source.
Rather than rely on effects to compensate for your mic’s shortcomings, try changing sounds at their source, before recording.

If your mic sounds dull or dark, push more high frequencies from the source: Use fresh guitar strings, clean your cymbals, boost your amp’s presence. On the other hand, if your mic is too bright, work at softening the treble sounds in whatever you’re recording. Try heavier gauge strings, dampen cymbals and drums with felt or tape, and sing through a pop screen or other wind filter.

4. Play with position.
Getting the most from budget equipment always requires effort. With microphones, this effort should focus on positioning. Everything about a mic’s placement affects how it captures sound: Its distance from the source, the direction it’s pointing, even its distance from the floor and walls.

This takes time of course, especially for those of us without assistants. But the improved sound you capture can only help your recordings.

5. Check for mods.
To keep prices down, manufacturers of cheap microphones often cut corners, and use discount components. If you’re comfortable with pliers, most microphones can be tweaked to compensate for these production efficiencies.

I’ve discussed ribbon mic mods before, but virtually every mic can be modified. And in some cases dramatic improvements in sound are possible. Google is your friend here – see, for example, the myriad modifications one can make to an SM57. The Prodigy Pro forums are also a great resource, full of schematics, diagrams, and like-minded hackers!

6. Try wide corrective EQ settings.
Narrow EQ adjustments can introduce ringing, and in extreme cases will accentuate the characteristics of your mic that make it sound cheap. Broad EQ corrections sound much less obvious.

A high-shelf cut at 10Khz, even if only 2 or 3dB, can work wonders to take the edge off a brittle-sounding condenser. A gentle high-shelf boost at 8Khz can add some life to the sound of a dull mic without over-emphasizing its shortcomings.

7. Adjust your performance.
Imagine recording a “cymbal basher” with a cheap condenser. The drummer produces too many high frequencies to begin with, and the mic inherently captures extra treble, so the recording will likely end up a useless wash of high-end white noise. When you can’t change mics, there’s only one way to address this: Have the drummer hit the cymbals softer and less often.

And practically every performance can benefit from this removal of extra material. Remember what Debussy said: “Music is the space between the notes.”

Or think of it this way: The fewer notes you record, the less your cheap mic needs to capture!

usually a “ring” isnt in one frequency…it’s a complex combination of frequencies. so you may need to eq out 2-3 different places. if you find a resonance, and eq it out, but still hear a ring, then repeat the process till all rings are gone. Then, give the snare a little boost in the mids to fatten it up, add a hint of distortion, send it to an aux with a plate verb…whatever it takes.

If you’ve never recorded outside your own home studio, you’ve likely found yourself wondering: How does the solo’d snare drum mic sound in a pro studio?

the mic picks up what you point it at. Your ears sit a good what.. 2-3 feet above the snare itself. When you hit a snare you hear a snare mic 3 feet below you and the rest of what you hear (a good portion) is how the room reflects the snare sound. When you have a mic an inch away from the snare itself..it’s picking up what your ears would hear an inch away from the same space. The snare sound you’re used to is compiled of the sounds from the top head, the bottom head, the walls, the ceilings…. and so on and so on

Tips for a fat, warm snare drum sound:

One thing that will help is a real consistent drummer. Grab some big sticks….. 2B Rock…. whatever. Tune the drum pretty loose with a little bit of muffling. If you’ve got a dynamic mic that is a little bottom heavy, try it out. I’ll use a ATM63HE, got the snap of a 57, with less honk and more balls. Light compression going in…. thats that….

And finally, some advice on reducing snare drum bleed on the kick mic …

The drummer is hitting the snare really hard and the kick really quiet. Tell him to stop. Moving the mic back will help because it puts the shell of the kick between the mic and the snare. You might also be using too much compression on the kick.

… and reducing other stuff bleed in the snare mic:

Is whoever that’s playing the snare hitting it properly? They should be attacking the shit outta the snare, make that hooker pop. On the flip side tell whoever it is to settle down on the cymbals, no need to mash them. It may be their thing and thats fine, just tell them to tone down their thing just a bit for the good of the recording. Playing properly will cure most of your micing problems.

The most common symptoms of a loose ribbon are low output and decreased low-frequency response. With your mic open, it’s easy to see if the ribbon sags. But with sealed, un-modded mics, the protective mesh hides the ribbon. So If you suspect your ribbon needs tightening, but don’t want to disassemble the mic to check, Michael recommends a quick and dirty test: Connect the microphone to a mixer, and listen through headphones while rocking the mic back and forth. If the ribbon is slack, you’ll hear a clanging sound when the ribbon hits the magnet.

Ribbon repair

Repair is straightforward, though requires a delicate touch. Read the discussion, again thanks to Michael, on Gearslutz (and a similar TapeOp thread):

One or both of the ribbon clamps must be loosened and removed. Then the ribbon pried gently away from the lower clamp surface. Occasionally the ribbon is fused to the clamp surface and cannot be moved without tearing. In this case the last resort is to hope the other end of the ribbon can be freed from the clamp and pulled taught.

You might also need the previously-noted page about replacing the ribbon element in a ribbon microphone.

(And the easiest way, especially if you’re all thumbs: Have OktavaMod repair the mic for you.)

Should you do this mod?

Whether or not you should modify your own ribbon mic depends largely on your answers to 2 questions:

Can you hear a difference in the samples? If not, then you’re unlikely to gain any useful improvement to your recorded sound by modifying your mic.

Are you comfortable with a screwdriver and pliers? You can easily destroy the ribbon. If that prospect upsets you, then it’s probably best to leave your mic alone.

Transformers

As I mentioned in part 1, an upgraded output transformer can also improve the sound of a low-end ribbon mic. The transformers most commonly recommended for this mod (which I’ll demonstrate in a future article) are:

• The Lundahl LL2911, available from Kevin Carter’s K&K Audio
• The Cinemag CM-9888, available directly from Cinemag
• The EDCOR RMX1

Here are some basic instructions for upgrading the transformer (from Jon Ulrigg, who manufactures Shinybox ribbon mics.)

Michael Joly, a regular on the Gearslutz and Homerecording.com forums, also performs mods for most of the cheap Chinese ribbon mics through his OctavaMod Shop. The site also has galleries and samples.

Ribbon mic resources

Finally, here are some helpful resources and ribbon-related DIY projects if you’d like to learn more about ribbon mics:

• Here’s a technical explanation of how ribbon microphones work.
• Instructions on replacing a ribbon, which would also be handy if you fancy building your own mic from scratch.
• Warren Dent’s cheap ribbon mic shootout offers sound clips recorded through several of the most popular low-end ribbon mics.
• The GroupDIY Mic Meta thread links to dozens of microphone related projects, many specific to ribbon mics.

Previously: Ribbon Mic Mod – Part 1, Ribbon Mic Mod – Part 2

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Methodology

I recorded each pair of clips below simultaneously, which makes A/B comparison easy: Line up the beginning of both clips in your DAW, and flip between them while they play. I choose this over a standard “before and after” approach because the performance in each pair of clips is identical, which makes it easier to concentrate on the sonic differences without being distracted by performance nuances.

I should note that this approach makes two assumptions:

• The unchanged stock mic ribbon has the same response as the modded mic ribbon: I’ve used these mics as a stereo pair in the past, so I know they were, for all purposes, identical. (In hindsight, I should have recorded an A/B clip with both mics before modding one, for comparison.)
• Phase anomalies are minimal: It’s impossible to completely eliminate phase effects when dealing with multiple mics. However, I took care to ensure the ribbon of each mic was exactly the same distance from the sound source. You can load the WAV files in a DAW yourself and confirm that the transients strike each mic coincidentally. Further, the characteristics of each mic are consistent across the samples below, even though I recorded different instruments, with different configurations. So it’s reasonable to assume that audible differences are due to the microphones’ properties rather than my recording setup.

Before / After Clips

I tried to represent both musical and percussive sources, as well as fast and slow transients. Note, though, that I haven’t applied any post-processing to the sounds. They’re rough … but accurate.

If you have difficulty hearing differences between each pair of clips, import the WAV files into your DAW, line them up to start together, loop a small section, and listen to each file 3 or 4 times before switching to the other. As your ears adapt to the similarities between each clip, the differences will become more obvious.

Acoustic Guitar – Hard strummed
This sample is both percussive and musical, to highlight differences in the modded mic’s transient response, as well as its broadband frequency response. Listen particularly to the lower frequencies.
  Stock mic – Acoustic guitar strummed [2.6Mb]
  Modded mic – Acoustic guitar strummed [2.6Mb]

Acoustic Guitar – Finger picked
This sample has much slower transients than above. Notice how the modded mic sample sounds less restricted.
  Stock mic – Finger picked guitar [2.4Mb]
  Modded mic – Finger picked guitar [2.4Mb]

Cymbals (crash, then ride)
In this sample, focus on the high frequencies. I find the differences obvious in the cymbal decay, where the stock mic exhibits some high frequency distortion. (Not necessarily a bad thing for a cymbal mic. In fact, I’d probably prefer the stock mic here for close-miking a hi hat.)
  Stock mic – Cymbals [3.8Mb]
  Modded mic – Cymbals [3.8Mb]

Electric Guitar
I played this on a Les Paul through a Peavey Classic 50 almost fully cranked, with just a hint of saturation. Personally, I think this sample illustrates the best use of a cheap ribbon mic: Loud guitar! The differences between each sample, though, are minimal.
  Stock mic – Electric guitar [2.3Mb]
  Modded mic – Electric guitar [2.3Mb]

Full Drum Kit
Finally, here’s a full drum kit sample. Listen for differences in the low bass (especially the kick drum,) and cymbal tails.
  Stock mic – Full kit [3Mb]
  Modded mic – Full kit [3Mb]

Observations

I wouldn’t call the change night and day. This mod certainly won’t turn an Apex or Nady into a Royer. But given the minimal effort required, I’d say there’s no question the mod is worthwhile.

As I noted, the changes to the mic’s response are most obvious at the ends of the frequency spectrum. The moded mic has a beefier bottom end, and a softer top end. Through the modified mic, acoustic guitar has clearer low-mids, kick drum has much more punch, and cymbal tails are a little less brash. High frequencies through the stock mic almost sound distorted in comparison.

Overall, the modded mic yields a slightly richer, less “pinched” sound.

Next, my Closing thoughts which you might find helpful if you’d like to try modding your own ribbon mic (even if it’s not an Apex 205)

Previously: Ribbon Mic Mod – Part 1

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• Remove unnecessary screening from the mic
• Replace the transformer

I recently performed the first modification on one of my mics, and left the other mic alone with the intent of doing a real A/B comparison. That is, with both mics on the same sound source, at the same time. Here, I’ll walk you through the mod, before discussing the changes I found in the mic’s response. (Note: I plan on performing the second modification, for further comparison, in the future.)

Background

The ribbon in a ribbon mic damages easily. One errant wind blast is enough to stretch or tear the ribbon. So the manufacturers of these cheaper mics include extra wind screening to guard the ribbon, knowing that many buyers are first-time owners likely oblivious to the care a ribbon requires. However, if you understand the mic’s delicate requirements, you don’t really need all the extra screens, and their effect on the mic’s response.

Modding your mic

Removing the screening is straightforward. (And it’s the easier of the two mods mentioned above, as it requires no soldering.) You’ll need:

• A Philips head screwdriver
• A pair of pliers
• Possibly a pair of metal snips or wire cutters
• Optionally, some foam
• A clear work area

Step 1: Access the ribbon assembly

The Apex 205 has a 2-part casing: A mesh basket (the top) which houses the ribbon and ribbon motor, and a blue canister (the bottom) which houses the transformer and electronics.

To disassemble the mic, first remove the 3 screws holding the mesh basket to the base – one under the engraved figure 8 and two on the back (marked “a” in the picture below. Click the image for a closer view.)

The ribbon housing is attached to the inside of the mesh basket by the remaining screw and the top of the mic stand mount. Unscrew both of these (marked “b”,) and you can remove the ribbon assembly from the case.

Step 2: Remove the wind shields

The ribbon assembly consists of 3 main parts: The saddle (my name for it) which is the metal frame to which the transformer is also attached; The wind shields, which you’ll be removing; and the ribbon motor.

There’s no trick to removing the shields. They’re attached to the ribbon assembly with a few small nuts which loosen easily (though may require gentle coaxing with needle nosed pliers to get them started.)

Working slowly so as not to agitate the ribbon, first remove the nuts that hold the ribbon motor to the saddle.

Then, remove the nuts that hold the screens in place, and slip the screens off the ribbon assembly.

You may need the pliers again to loosen the barrel nuts holding the top screen in place.

With the screens removed, you can reattach the ribbon motor to the saddle. (You don’t need to replace all the nuts that held the screens in place, though you can if you want.)

Step 3: Remove mesh screening

This step is a little trickier, and messier. Truthfully, I’m not convinced it’s necessary. I can’t tell the difference in sound between a 205 with and without the inner basket mesh. (Though this is not true for the wind screens, above. Those metal screens definitely affect the sound.) So if the sight of wire cutters in the picture below makes you anxious, you can skip this step.

To remove the mesh, press gently on the outside of the basket just enough that the mesh comes away from the rim on the inside. Slip a screwdriver under the inner mesh and pry it away.

Depending on your mic, there may be two layers of mesh. You can remove one or both of these. (Again, in my experience, the choice makes minimal, if any, difference to the final sound of the mic.)

The mesh is affixed to the outer basket with epoxy, though how firmly differs from mic to mic. Sometimes both inner mesh screens peel off easily, sometimes you need some clipping to help them along.

Step 4 (optional): Pad with foam
This step is optional, though in my opinion worthwhile. Using a loose foam, like the kind used to pack electronic devices, fill the spaces between the ribbon assembly and saddle, and the space around the transformer in the base canister. This should dampen the effect of mechanical vibrations, such as footfalls near the mic stand, and help reduce resonance in the canister.

Step 5: Reassemble
In case you’ve lost your orientation, the picture below shows the front face of each component. The saddle mounts, figure 8, and Apex logo should all line up.

Re-affix the basket to the saddle (the green “b” screws in the first image above,) then attached the basket to the base (the red “a” screws above.) And that’s it. Your mic is now ready!

Your newly modded microphone

The mic is good to go at this point. However, because you removed most of its built-in wind protection, you’ll need to take some new precautions:

• Avoid windy locations: You’ve had the mic apart, and seen how delicate the ribbon is. Image what a stiff gust of wind, or blast from a strong fan, would do to that now-unprotected ribbon.

• Use a pop screen as much as possible: Obviously, you’ll need a pop screen when recording vocals. But other instruments can generate blasts of air strong enough to damage the ribbon. In particular, the speaker motion from a loud guitar amp, especially on hard, sharp sound, moves enough air to tear the ribbon.
• Don’t move the mic too quickly: When transporting the mic, or moving it about your studio, don’t make abrupt movements. Better yet, keep the mic in its protective bag unless you’re recording.

And finally, the obligatory disclaimer: This will void your warranty, and you can destroy your microphone if you’re not careful, both while performing the modification and in regular use thereafter. I won’t be held responsible if you attempt this procedure on your microphone, and damage it. I’m happy to offer suggestions or assistance if you run into difficulties (leave a comment, or email me: des @ hometracked . com.) But what you do to your microphone is all on you.

Next: Audio samples comparing the modded and unmodded mics

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A microphone’s ability to accurately capture these transients is known as transient response, and it’s an important property to consider when selecting a mic. To understand why, think of how a microphone works.

Diaphragm and Transient Response

All studio mics operate on the same basic principle: Sound energy moves a diaphragm, and the diaphragm’s motion is converted to an electrical signal which can be measured and recorded.

Diaphragms differ from mic to mic. Dynamic mics have a coil or ribbon, where condenser mics have a lighter capacitor membrane. (For background, see Wikipedia’s page on microphones and the comprehensive microphones section on GSU’s Hyperphysics site.) Regardless of type, however, the motion of all diaphragms is governed by the laws of physics. Specifically, inertia: Lighter diaphragms require less energy to move than heavier diaphragms. Consequently, lighter diaphragms react quicker than heavier diaphragms to abrupt changes in sound energy. That is, they have a faster transient response.

Generally, we find the lightest diaphragms in small diaphragm condensers (SDC’s) while large diaphragm dynamic (LDD) mics have larger moving-coil diaphragms. As such, SDC mics are more responsive to transients than LDD mics.

This diagram, taken from Shure’s indispensable Microphone Techniques for Music – Studio Recording, illustrates the response of a condenser mic and a dynamic mic to an electric spark impulse.

Though the difference is small, around 10 microseconds, the condenser mic (top line) responds more quickly to the impulse. Further, the dynamic diaphragm takes longer to stop moving after the impulse has passed. Note the continued “wobbling” on the right of the graph.

Diaphragm “stop” time

The difference in response is even more pronounced when viewed on a larger scale. To illustrate, I rigged an example with 3 microphones,

• Studio Projects C4 – an SDC
• Apex 205 – a cheap ribbon mic
• Shure SM58 – a small diaphragm dynamic mic

Here’s how the microphones respond to the click from a pair of drum sticks:

The differences are striking. The C4 (on top) has what I’d characterize as the “cleanest” response. The SM58 (on bottom) took about twice as long to “settle down” after the sound had passed.

And the ribbon mic (in the middle) has a completely different extended response. You can practically see the ribbon itself flapping back and forth inside the mic, taking almost 10 milliseconds to settle.

Choosing the right transient response

It’s important to note that just because a microphone has a faster transient response, it’s not necessarily a better mic. As always in recording and mixing, your ears are the final judge of “better,” and sometimes you’ll simply prefer the sound of a sluggish diaphragm. Many people, for example, opt to use ribbon mics as drum overheads precisely because the ribbon’s response softens harsh-sounding cymbals.

There are a few general guidelines, however, when considering how a microphone’s transient response will affect your recordings:

Compression: Larger diaphragms, with their slow response, tend to naturally compress a sound, smoothing out the transients
Smearing: Additionally, since large diaphragms take longer to stop moving after a sound has passed, they can also smear transients, sometimes blending one into the next.

These effects combine, in varying degrees depending on the mic, to yield a dark or flattened sound, generally suitable for bass, electric guitar, and edgy vocals.

Detail: Condenser mics, especially SDCs, better represent the transients we hear and, as such, yield a more detailed sound.
Higher frequencies: High frequency sounds tend to produce sharper transients, in which smaller diaphragm mics are better at capturing nuance.

These effects combine to yield a brighter, crisper sound, generally appropriate for acoustic guitar, drum cymbals, and delicate singers.

I’ve seen this all summarized as:

Faster – brighter, slower – darker.

Of course, that’s a very general guideline, because there are other important properties of a mic to consider (e.g. polar pattern, frequency response.) But when choosing a mic, it always helps to remember how its responsiveness will colour the sound of the instrument you’re recording.

First thing is to do the faders up listening. If you’re a member of the band, or the engineer, or even worse both (as well as the song writer and the overall aranger of the songs….like I am), then TRY REALLY HARD to forget that. You have to become the mixer and listen to the track with fresh ears. Once you done the faders up listen a few times, you will have a pretty good idea of how the track goes …

Here, the folks on Gearslutz discuss modest low-end microphones. They list some great options if you’re in the market for a decent pro-sumer microphone:

I’m a drummer and I’ve always been satisfied with a D112 on the kick and an SM57 on the snare. I’ve got a very old pair of Oktava mk012s that I love for overheads. I’ve also used these for room mics and acoustic guitar with nice results… SM57 is good enough honestly on a snare. If you can’t make a snare pop with a 57, it’s not the mics fault.

(The thread introduced me to Sweetwater’s customers top mic picks page, which, depending on how you view Sweetwater’s customers, could also be a handy reference.)

Finally, here’s a thread with some interesting thoughts on modulating tape speed to change a recording’s character:

if you were to take the original tracks and layer them with the slowed down tracks (providing that the tracks weren’t *that* slowed down and could occassionally be resynched) then yes, the sound will get thicker. Simply slowing the tape speed down though will do absolutely NOTHING to “fatten” the sound. No additional overtones are added, no distortion should be added (provided your tape machine is properly calibrated) and even if it were, I doubt it would be the euphonic type of distortion you’d be looking for …

I’m not sure how effective the trick would be for fattening the sound, especially in a tape-less DAW, but if you’ve got a “try anything once” mindset here’s Audio Mastermind’s list of free pitch-shift VST plugins.

Previously: The Big Page of Mix Tutorials

Most of the cheaper ribbon mics are manufactured in China. Among the most popular: Apex, Shiny Box, and Nady. I have a pair of Apex 210s that make great drum “underheads” (as recently discussed on the TapeOp messageboard.) The rolled-off high frequencies yield a much more controlled cymbal sound, a plus for anyone recording drums in an untreated basement.

If you’re unfamiliar with ribbon mics, here are two great magazine articles describing how they work, and when you might want to reach for one:

From Electronic Musician, Ribbon Revival:

The benefits of ribbon miking are often characterized as a smooth and natural timbre without sibilant highs, full low-end response at any distance, and high-SPL handling. Low noise and superb transient response are additional benefits, especially when a ribbon is paired with a quality microphone preamp. (See the sidebar “Preamps for Ribbon Mics.”)

From Mix Magazine, Ribbon Renaissance:

The qualities that make them prized are many: “Warm,” “musical” and “syrupy” are words often used to describe a ribbon mic’s trademark sound, which is attributed in part to a gentle proximity effect that becomes pronounced within a few inches of the mic, as well as an inherently flat frequency response with a smoothly attenuated top end. They’re naturally bidirectional, perfect for both mid/side (M/S) and Blumlein stereo recording techniques. In addition, the low mass of a ribbon diaphragm allows for fast transient response. Ribbons also offer a wide dynamic range, useful on everything from capturing low sounds from stringed instruments to handling extreme SPLs at high frequencies, making them an ideal choice for miking brass and percussion.

If you’re handy with a soldering iron, the Chinese mics also lend themselves to some easy modifications that can dramatically improve their sound. The easiest involve removing the internal mesh, and upgrading the microphone’s transformer.

More details here and here

The transformer mod is straightforward. two wires on primary, two wires on secondary. Desolder, mount new transformer, resolder.

On the Cinemag transformer, the primary pair is red/brown wires, the secondary pair is the orange/yellow wires, with the white wire connecting to ground.

So the upgrade is simple as desoldering the existing wires, mounting the new transformer, and connecting the new traffo wires to their appropriate spots.