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[TheDan]

Hey guys.

I am going to be purchasing my first ribbon mic soon, and it looks like my budget is about 4-500 bucks. that rules out a Royer, but from what I have read here and from other engineers I know, these Beyers are pretty good bang for the buck. I definitely don't want to go cheapo like Nady, but I can't really justify a grand for the Royer right now.

So I have noticed there is a price difference between the M160 and the M260, the latter being cheaper usually. What is the difference? And what would any of you recommend between these two?


Thanks a bunch.

Dan

[Mike Cleaver]

From Beyer's website:

M 260
Order ID: 127.329

Ribbon microphone with built-in high-pass-filter
PDF Downloads

Manual(PDF)
Datasheet(PDF)
Application

Vocals
Instrumental miking
Speech

The M 260 is used for vocals and miking instruments at broadcast, recording and film studios. Its flat frequency response and natural, warm ?ribbon? sonic profile make it a highly effective element of the digital recording process.
The hypercardioid polar pattern provides an extremely high gain-before-feedback and elimination of lateral noise (maximum at 115

[Vertigo]

160. Thank you for playing.

-Lance

[TheDan]

Awesome, I got some info and recommendation, AND got made fun of. I  bought both of the mics, and decided on the M160, I like it better as an all-around ribbon for what I need.

thanks guys!

[Hank Alrich]

Good decision; the M160 is a much better mic than the M260, and the current version of the M260 is not as good as the originals, as they rolled-off the low end by changing the transformer.

[TheDan]

Thats also good to know, and I would have only found out here! Thanks!

[Vertigo]

I wasn't making fun of you Dan, I just wanted to give you the short (if opinionated) version. I'm glad to see you tried both mic's and agreed

-Lance

[TheDan]

Its all good, Vert. its hard not to be defensive around here sometimes. i am one of those annoying bedroom recordist kids who you guys all hate, and i am working my ass off to be more and more legit. (but at least i buy my software, and have a 'console', albeit a mackie for now). this board and you guys have been my greatest source for knowledge and advice, and i thank you all.

[hargerst]

I'm sorry if some people here come off sounding elitist, or it feels like we're against home recordists; we really aren't.  The whole purpose of this forum is to help people find ways to get better sounding recordings with little to no extra money spent.

Now obviously, that means you hafta already have some decent level of recording equipment, but you'll find that often, it's the operator, not the equipment, at fault for poor recordings.  

So, this forum is devoted mainly to tricks, techniques, work-arounds, and some of the low end gear that can work well for specific stuff.  Realizing the limitations of the gear is a good place to start.  You are NOT going to make a satisfactory COMMERCIAL QUALITY recording of a symphony orchestra in your bedroom studio.

Now I know that sounds pretty obvious, but some people have very unrealistic expectations of what their equipment can accomplish.  And others don't realize the full potential of the equipment they already own.  Hopefully, that's where this forum will be able to help out the most.

[TheDan]

I know what you mean Harvey, I am kind of 'graduating' from home recording I guess, I have my own studio space now, but still mostly the same low-mid level gear. But, I work with what I have. I don't claim to be able to produce work better than the level I am at, and I charge (or don't)accordingly. And, the artists I have worked with have been pleased so far. There is a market where I am for the level of work I do. Its all uphill from here.

Thanks to guys like you, and places like this, I can learn more and more. I know its not all about gear, but there is a balancing point that gets reached when you realize that your ears and skills are progressing, and you can actually justify upgrading, and know why it is better. I think that your 'Budget' forum is the perfect place for guys like me (there's a bunch, watch out).

If anyone's interested I have a mix up at the Marsh 'writer's and producers' forum, because, well hell, I am kind of a show-off.

http://mars.prosoundweb.com/index.php/t/13935/

Keep the knowledge coming, and keep being snarky to the idiots.

Dan

[hargerst]

Interesting stuff, Dan.

To me (and this is just my opinion), the snare on the second song is too big for the song.  I'da gone with a small Pork Pie or piccolo snare sound. Same with the kick; a little too dead for my tastes.  Vocals need some work, but a pretty damn nice job, overall.

You're definitely making good use of the stuff you already have.

[Joe Black]

I have an older 260 that I love on Fender guitar amps, it's really really sweet.

[Trumpetman2]

Joe Black wrote on Sun, 23 September 2007 10:36

I have an older 260 that I love on Fender guitar amps, it's really really sweet.

Well, in the Harvey Gerst spirit of "being helpful" I'll give MY opinion on the Beyer 160 ribbon for trumpet - Its ok, but my Heil PR40 is much more suited to capture a more realistic trumpet sound...and the Heil is quite a bit cheaper than the Beyer....
 so, if you are going to use it on trumpet, there is a better option.

[Joe Black]

Trumpetman2 wrote on Sat, 29 September 2007 16:40

Joe Black wrote on Sun, 23 September 2007 10:36 I have an older 260 that I love on Fender guitar amps, it's really really sweet. Well, in the Harvey Gerst spirit of "being helpful" I'll give MY opinion on the Beyer 160 ribbon for trumpet - Its ok, but my Heil PR40 is much more suited to capture a more realistic trumpet sound...and the Heil is quite a bit cheaper than the Beyer....  so, if you are going to use it on trumpet, there is a better option.

I've never tried trumpet through a Fender amp, but the next time I have the opportunity, I'll give it a whirl. Where do you put the pick up on a thing like that?

[Trumpetman2]

well...right down the bell, of course.....

[TheDan]

thanks harvey, that means alot. i agree with you about the drum sound not being quite appropriate for the second song of the track, but it was tracked all in one take, the artist wanted the two to be seamless. there was only 4 mics for the kit to begin with, and when the song starts to wind down in the middle section, it is down to 2 mics, which didn't leave many options. we knew that going in, in the end it was his call. there is still to be more instruments for the second song, so that might help. vocals will be redone.

joeblack- i have an early 70s fender twin reverb that i put through a bandmaster cabinet, and the m160 i have has proven to be pretty sweet for that, it can be kind of bitey sometimes, and it seems to handle that really well. i have also liked it alot on an AC30 from what i have tried.  

[Jeff Panall]

My experience is they excel in different areas.

M260 is fantastic for vocals and drum overheads.
M160 is fantastic for electric guitar cabinets and acoustic guitar.

Both are flexible and I've also used them on lots of things: pedal steel, dobro, upright bass, snare.  I bought the M260 first because it was cheapest.

Another great Beyerdynamic ribbon is the M500, it's brighter than the others and isn't as flexible, but I've gotten really great electric guitar and drum overhead sounds with them.

[Mark Gensman]

I have one of the older M260's (purchased new in 1975) that I had Beyer rebuild for me last summer after a really bad experience with another well known ribbon mic rebuilder.

Mine did not have the high pass filter installed and I made sure they left it out during the rebuild. It has been my "go to" mic for sax and some acoustic instruments like banjo, for a long time. I think the newer model lacks low end punch because of that darn high pass filter.

It is a great live sax mic.

[Han S.]

I have three older M260's, with the small Tuchel connector, fantastic mics, fat, smooth on almost everything and with great rejection.