ONTRACK
Ribbons 101
Let’s start this column out by taking a look at
ribbon microphones and how they can help
you capture some great guitar sounds. Don’t
think they should just sit in front of an amp
either – ribbons can also be used to warm up
that acoustic track.
While actually a type of dynamic micro-
phone, the ribbon is quite simple in its basic
design. Typically, a thin corrugated aluminum
ribbon is mounted between poles of a mag-
net. Sound waves then cause the ribbon to
move and electromagnetic induction helps
generate voltages. A step up transformer is
used to help increase the voltage and output
impedance. Tech talk aside, ribbons deliver
a sound that is usually described as natural,
warm, big and smooth.
The first ribbon appeared around 1931,
developed by Dr. Harry F. Olson at RCA. That
RCA PB- 31 model was eventually followed
by the classic 44 and 77 series mics, many of
which are still in use today. Currently, you can
find a handful of manufacturers making cool
ribbons, from vintage replicas to brand new
modern designs (see list below). Ranging in
price from a few hundred to several thou-
sand dollars, your budget will obviously
dictate what you use – unless your favorite
studio has one on hand.
Most ribbons, except for certain stereo,
multipattern and hypercardoid models, have
a bi-directional or figure- 8 pickup (polar)
pattern. That means sound will be recorded
both directly in front of the mic and from the
rear as well.
On the negative side, ribbon mics can be
sensitive to blasts of air and you’ll need to
avoid using +48V phantom power so you
don’t end up with an expensive paperweight.
Since I happen to use Royer ribbon micro-
phones (their R-122V and SF- 24 models are
the only ones that needs phantom power), I
will be referring to them for this column. Just
know that the same recording principals will
apply except for the sonic variations among
different types.
When used on a guitar amp, a good place to
start is six to twelve inches off the speaker
and just off the center of the cone. When
using a 4x12 or 2x12, always listen for a
preferred speaker (or two). Once you’ve
found a basic sound you’re happy with,
experiment with moving the mic closer to
the cabinet. Ribbons feature the classic
“proximity effect,” where the bass response
of a mic increases as you get closer to the
source. Use this to your advantage and go
for that super warm tone. You can always
back it off should you find there’s too much
bass or remove it with EQ later. Note that
some older ribbons can’t handle the subse-
quent high sound pressure levels, but newer
models like the Royers can handle upwards
of 135dB.
As we mentioned, most ribbons are figure- 8,
so use that to your advantage as well. The
rear of the mic will pick up all that room
tone, so try to put your amp in a good
recording environment – place your amp in
a corner or use gobos to help project the
sound outward. Room tone is like having an
additional microphone set up, and it can help
create that distinctive guitar sound.
Speaking of extra mics, ribbons work great
when mixed in with a partner (or two). Try
using the classic Shure SM57 or a Sennheiser
421 alongside your ribbon. By placing them
literally tip to tip, allowing the sound to
hit each one at the same time, you’ll avoid
phase issues. Try adjusting the angle of the
57 to go on or off axis – whichever way
sounds better to your ears.
On the console or in your recording soft-
ware, take the two tracks and pan them
together. Adjust the faders and listen to the
different sonic options created by the blend.
You can also try panning them to opposite
sides for a wider soundfield. The only way
to know what’s “right” is to listen within the
context of the song and use each accord-
ingly. In general, the ribbon will provide the
warm, creamy low-end and the SM57 will
give that distinct midrange growl.
With acoustic guitars, ribbons can capture
a deep, natural tone. I tend to blend them
with a good high-end omnidirectional or
cardioid mic, such as Earthworks, Schoeps,
or DPA models. By placing the ribbon on the
body and the other mic near the edge of the
soundhole, it offers depth that a single mic
can’t provide.
Once again, using the backside of a figure- 8
ribbon will offer extra room sound on your
acoustic track. But when mic’ing up close, the
back side of mics, such as the Royer R- 121
and 122V, have a slightly brighter sound than
the front. By turning them around and revers-
ing the phase, you’ll have some extra high-
end to work with. As always, experimentation
is the best way to find what works for you, so
try a ribbon on your next guitar session.
Here are some links (and models to check
out) of several current ribbon microphone
manufacturers.
Beyerdynamic.com (M130, M260)
Coleselectroacoustics.com (4038, 4040)
Nady.com (RSM- 2)
Oktava.com (ML52)
Royerlabs.com (R121, R122, SF- 1)
Wesdooley.com (R44C, AEA R84,
AEA R88 stereo)
Rich Tozzoli
is a producer, engineer and mixer who has worked with
artists ranging from Al DiMeola to David Bowie. A lifelong guitarist, he’s also the author of Pro Tools Surround
Sound Mixing and composes for such networks as
Discovery Channel, Nickelodeon and National Geographic.
