32:02 great example of proximity effect. Some singers know how to use that to their advantage with Ribbon mics, and of instrumentalists as well, that’s always a pleasure because the sense of intimacy and also just pure impact really comes through,. And on stage with an M 500 I’ve had singers respond extremely well when I’ve run sound for them. Really affects the performance in a good way because they’re able to have the expression come through rather than the more “package“ sound at most microphones provide. (On the proximity demos it’s probably better to keep the same pitch close in as compared to a little distant because of the base content, but this was towards the end of a long video so I’m sure you were just going with the flow)
I fully agree with your take on the perceptible difference in design of a ribbon mic compared to any dynamic or condenser, the fact that the sound is generated in the element itself rather than translated via a magnetic moving coil as an a dynamic mic or the capacitance difference in a condenser mic is huge. Also the architecture of the free hanging ribbon without a backing avoids all kinds of unnatural resonances and colorations. And very importantly I think it also captures the “shape“ of sound better than the other Mic designs. Another factor is that anything round wants to resonate, drumheads, cymbals and gongs, certain microphone makers even in condenser mics using rectangular elements now and even I think a polygon shape recently came out. Specifically these would cut down on those circular generated resonances.
Thanks for such an in-depth video. I have a M500N(C) that came to me with internal filter rattling around and had some pretty hellish foam rot. Sure enough, it still passed a signal, though nothing above 4k and lots of rattling. Ended up re-securing internal filter and cleaning out the foam, which had become lodged in the motor. Now it's one of my favourites. Though, I don't use it for vocals, but it is my current favourite as a snare bottom live with an M201 on top, especially for the thudsville snares. Their respective curves complement each other well.
Mine had the exact same problems. But mine luckily sounded right. I just took out the rotten foam and taped the filter in place, with double sided tape. Going to try it on Snare Bottom too...
20:50 The V90 closer to your right also has an extended high frequency response compared to the one closer to your left. I agree the one closer to your right had a warmer low end. I have a number of M500's refurbished and modified by Stephen Sank and they are some of my favorite vocal mics, singers really love them!
Concerning the foam, I got two M500s from 1984 and 1986 (written on their respective frequency measurements) and they do not have foam, also there are no traces that they might have had foam at anytime. Also, their serial numbers are 30247 (1984) and 30304 (1986). Maybe that can help you date your mics. :-) Anyway, I really cherish the M500 as well. Thanks for your video which really shows your apreciation of that mic. Mine are currently with Stewart Tavener from Xaudia for servicing, as one of them had a lower output and a little bit of distortion (probably due to a faulty ribbon). He found out that despite their close production date, they actually have different transformers, one with 600 Ohm Output, the other one with 50/200 Ohm, currently wired for 200 Ohm. As he has fitting replacement transformers, I went for the replacement of both transformers which also won't have the 80Hz lowcut as the stock transformers. I was actually surprised by the lowend of most of your M500, as they don't seem to exhibit that 80Hz lowcut as prominently, as compared for example with your black version. Maybe they are even more transformer variations leading to less prominent lowcuts. Anyway, should your mics ever require servicing, I highly recommend Stewart from Xaudia for that. :-)
There are some who think the neodymium magnets are just too strong and probably create a dampening affect on the ribbon that’s undesirable. I think the microphone company Stager just came out with an Alinco magnet, old-school, model.
I know nothing about such things really, but I wonder how a strong magnet could damp something non-magnetic! There's probably more to it that I imagine.
Please make a review of the legendary AKG C 535 EB microphone. This microphone was used by many artists, for example: Bee Gees, Frank Sinatra and others.
32:02 great example of proximity effect. Some singers know how to use that to their advantage with Ribbon mics, and of instrumentalists as well, that’s always a pleasure because the sense of intimacy and also just pure impact really comes through,. And on stage with an M 500 I’ve had singers respond extremely well when I’ve run sound for them. Really affects the performance in a good way because they’re able to have the expression come through rather than the more “package“ sound at most microphones provide. (On the proximity demos it’s probably better to keep the same pitch close in as compared to a little distant because of the base content, but this was towards the end of a long video so I’m sure you were just going with the flow)
I fully agree with your take on the perceptible difference in design of a ribbon mic compared to any dynamic or condenser, the fact that the sound is generated in the element itself rather than translated via a magnetic moving coil as an a dynamic mic or the capacitance difference in a condenser mic is huge. Also the architecture of the free hanging ribbon without a backing avoids all kinds of unnatural resonances and colorations. And very importantly I think it also captures the “shape“ of sound better than the other Mic designs. Another factor is that anything round wants to resonate, drumheads, cymbals and gongs, certain microphone makers even in condenser mics using rectangular elements now and even I think a polygon shape recently came out. Specifically these would cut down on those circular generated resonances.
Thanks for such an in-depth video. I have a M500N(C) that came to me with internal filter rattling around and had some pretty hellish foam rot. Sure enough, it still passed a signal, though nothing above 4k and lots of rattling. Ended up re-securing internal filter and cleaning out the foam, which had become lodged in the motor.
Now it's one of my favourites. Though, I don't use it for vocals, but it is my current favourite as a snare bottom live with an M201 on top, especially for the thudsville snares. Their respective curves complement each other well.
Mine had the exact same problems. But mine luckily sounded right. I just took out the rotten foam and taped the filter in place, with double sided tape. Going to try it on Snare Bottom too...
20:50 The V90 closer to your right also has an extended high frequency response compared to the one closer to your left. I agree the one closer to your right had a warmer low end.
I have a number of M500's refurbished and modified by Stephen Sank and they are some of my favorite vocal mics, singers really love them!
Concerning the foam, I got two M500s from 1984 and 1986 (written on their respective frequency measurements) and they do not have foam, also there are no traces that they might have had foam at anytime. Also, their serial numbers are 30247 (1984) and 30304 (1986). Maybe that can help you date your mics. :-)
Anyway, I really cherish the M500 as well. Thanks for your video which really shows your apreciation of that mic. Mine are currently with Stewart Tavener from Xaudia for servicing, as one of them had a lower output and a little bit of distortion (probably due to a faulty ribbon). He found out that despite their close production date, they actually have different transformers, one with 600 Ohm Output, the other one with 50/200 Ohm, currently wired for 200 Ohm. As he has fitting replacement transformers, I went for the replacement of both transformers which also won't have the 80Hz lowcut as the stock transformers.
I was actually surprised by the lowend of most of your M500, as they don't seem to exhibit that 80Hz lowcut as prominently, as compared for example with your black version. Maybe they are even more transformer variations leading to less prominent lowcuts. Anyway, should your mics ever require servicing, I highly recommend Stewart from Xaudia for that. :-)
My M160 head grille is pressed on. Speaking of M160, would you review the M160 some day?
I would like to, have to sell some first!
There are some who think the neodymium magnets are just too strong and probably create a dampening affect on the ribbon that’s undesirable. I think the microphone company Stager just came out with an Alinco magnet, old-school, model.
I know nothing about such things really, but I wonder how a strong magnet could damp something non-magnetic! There's probably more to it that I imagine.
Nicely done. I like your style. I own two M260 mics.
You’ve a great channel. Have you ever toyed with an m160? People seem to swear by it about as much if not more than the m88. Best!
Would love to see a video on it if so**
Thanks! No, never tried a 160 but all Beyer ribbons seem to get favourable comments.
Please make a review of the legendary AKG C 535 EB microphone. This microphone was used by many artists, for example: Bee Gees, Frank Sinatra and others.