Beyer ribbon mics for live stage use - Just bought a TG-V90r
I've just ordered a Beyer TG-V90r as a direct result of having done some recording a couple times this year and finding that much as I love singing into the condensers in my friend's studio, it the ribbon mics that I love hearing the playback from.
I bought a Beyer M-500 years ago for a girl I was with at the time and she sounded heavenly through it, but the only Beyer's I ever used personally were dynamic coil mics and the only Beyer product I still have is a couple of their mic clips.
Well that's all about to change when I get my TG-V90r next week and while I know I'm taking a risk buying it without ever having tried one out, I expect it to be an interesting journey, hopefully one that finds with a new favorite microphone.
Does anyone else here use a ribbon mic onstage, and even more of interest to me, does anyone have any experience with the TG-V90r?
Caveat: I've never personally used a ribbon on a live gig.
The biggest concerns I would see are these two:
1. Ribbons are figure 8 patterns. Often useful in the studio, but very problematic with on-stage monitors.
2. The ribbon itself is very susceptible to damage from wind. So, I would NEVER use one outdoors.
Lots of older ribbons require vertical storage, and so are inappropriate for travel, but many new designs have dealt with that.
The Beyer M-500 was a cardioid pattern mic for stage use and the TG-V90r is the next step in the advancement of stage-friendly ribbon mics.
Is there anyone that knows about this mic or am I the only one? Just hoping that there will be some pertinent postings from the perspective of knowledgeable experience.
*1969 The M 500 ribbon microphone proves that the lacking ruggedness of ribbon microphones, described in old textbooks, is definitely a thing of the past.
*Ribbon microphones have always been Beyerdynamic’s speciality; a tradition which Beyerdynamic continues on many fronts and with the TG V90r. The smooth, clear and unbelievably natural sound, the coherent design and its rugged construction – all are unique characteristics that only the TG V90r can offer.
As the only ribbon microphone in the world that can stand out even with live vocals on loud stages, the TG V90r is a highlight of the Touring Gear series. This new interpretation of the legendary M 500 combines the incomparably clear and always unobtrusive sound of a ribbon microphone with the high feedback rejection and ruggedness required for use on tour today. This is made possible by a new system design that achieves a cardioid polar pattern, which is exceptional for a ribbon microphone, combining high output levels with a construction suitable for the stage. The clear, natural sound from this ribbon microphone with a cardioid polar pattern is due to the ultra-light, approx. 2 micrometres thin pure aluminium ribbon that provides exceptional impulse fidelity and outstanding transient behaviour. No other microphone highlights the individuality of a voice like the TG V90r – one reason why it is so loved by vocalists who want something special. In addition to the high-quality craftsmanship, the TG V90r is also impressive with its elegant design and special surface treatment.
The complex sound labyrinth of the TG V90r is hidden under the diaphragm and its approximately 2 micrometre thin pure aluminium ribbon which is inserted by hand.
Enhanced space behind the diaphragm for improved bass reproduction
Combination of special acoustic labyrinth and high-tech acoustic fabric for optimal tuning
Treble resonator ribbon for smooth high-frequency reproduction as part of the multi-level pop protection
I have six M500 mics that I use in the studio all the time and I have used them live as well. There is no problem using them in a live situation. Back in the late 70s, The Eagles used to use M500 mics live for vocals all the time. It is not true that all ribbon mics are figure 8 patterns. The M500 is cardioid and there are a couple of other ribbon mics that are cardioid as well. They also work very well on percussion.
My initial experience with the mic last night is encouraging, but I'm now wanting to do some mic swapping mid-gig like I did a couple years ago when comparing the Heil PR-35 & Audio Technica AE-6100.
This time I'll be doing three-way switches between the Audio Technica AE-6100, Sennheiser e845 and Beyer TG-V90r.
One additional experience that got me wondering about whether I was using the best mic for my voice was some simple room recordings I did a couple months back where I loved the sound I was hearing live from my AE-6100, but not so much the recorded sound, and that mirrors my experience in the studio where I loved singing into the crisper sounding mics, but preferred the tonality and texture of the recorded ribbon mic.
Haven't done any direct comparisons yet but have been using this mic ever since receiving it and as each week goes by I'm happier with my decision to buy it.
For someone who sings loudly all the time many of the benefits would be lost, although I still like the tonality it departs on louder singing too, primarily the silkiness of the vocal textures, but at lower level singing is where it really shines.
I'd really recommend this mic for anyone doing acoustic music, jazz or who likes to use a wide range of dynamics in their singing, regardless of musical style. The only 'bad' thing about this mic is that it does demand more control on part of the user than a regular cardioid dynamic mic, but the payoff is worth it.
Well the issue of ribbons being fragile has come up now that a customer got ahold of my mic Friday and I'm now using one of my Sennheiser 845's as a result.
The Beyer still works, but past a certain volume some background noise gets added to what you're singing and now I'm looking to send it off for repair.
I still plan on using it again after it returns, but will consider pulling out a different mic on such nights.
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