Back in 94 when PJ and Duncan, aka Ant and Dec, threatened to mistreat a microphone in their (oddly) Brit Award-nominated single Let’s Get Ready to Rumble, all we could do was hope they were talking about an SM58, because that’s the only thing that stood a chance of surviving their dance moves, let alone abusive handling.

Studio mics don’t come packaged in James Bond-esque foam lined briefcases for nothing. I remember once being handed a 1970s AKG C 414 by the Frenchman who taught me how to record a band. He stopped short of cupping his hands underneath mine as I looked at it, but it was clear that he would have felt more comfortable in doing so. These days they’re much hardier and even ribbon mics are no longer the preserve of low-dB applications.

Nonetheless, as a general rule, studio mics are a fragile bunch and this isn’t without purpose; it’s directly proportionate to their sensitivity to the infinitesimal sonic nuances that barely make it past the pop filter of dynamic microphones. To the layman, it might seem that, when talking in terms of such miniscule tolerances, the resulting difference in overall sound from one high-end model to another would largely be negligible. Good engineers, however, have ears that are more responsive than the capsules in their most treasured mics. This makes buying one, as our founding editor, Andy Wood, quite astutely put it, ‘not dissimilar to choosing a life partner’.

Unfortunately, there’s no microphone equivalent of match.com and those looking for their recording soul mate will have to rely on good old-fashioned trial and error. Some will be lucky enough to meet theirs at work, but for everyone else here are a few eligible candidates to get you started.

Neumann
Georg Neumann is best known for his celebrated U87, made popular – almost to the point of household-name status – by The Beatles (courtesy of their producer, George Martin) in the 1960s. Recently, it’s the company’s TLM 67 that has been garnering all the attention, albeit mainly from those in the know. It was hailed as the best studio microphone by MIPA, which furnished it with an award earlier this year.

The TLM (transformerless microphone) 67 is a large-diaphragm condenser microphone with a circuit design that closely reproduces the sound characteristics of the classic U 67 (another 60s classic), without the use of tubes. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105dB without distortion, and has a dynamic range of 94dB (A-weighted), without the use of the pre-attenuation switch.

The 67s three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10dB pre-attenuation and high-pass filter allow detailed adjustments to be made, depending upon the specific recording situation. Hence, the mic is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.
www.neumann.com

Audio Technica
At IBC this year, Audio Technica introduced four new models to its pro 40 series, including its first ever ribbon mics, the AT4080 and AT4081. These are side address microphones with figure-of-eight polar patterns. Both are phantom-powered and use aluminium ribbons to add durability to what is easily the most delicate of mic types.

The larger AT4080 features two ribbons, while the low profile ‘stick design’ AT4081 has one, but both feature Audio Technica’s innovative Micro Linear ribbon imprint, which protects the ribbons from lateral flexing and distortion. Audio Technica’s innovative ribbon transducer currently has 18 patents pending, which suggests that quite a substantial amount of A&R has gone into its design.

Also new to the 40 series, is a stereo version of the popular AT4050, the AT4050ST and a multi-pattern version of the AT4047SV, the AT4047MP. The latter features the same element as its original, but offers omni and figure-8 pickup pattern options in addition to cardioid.

The microphone’s transformer-coupled output and specially tuned element provide sonic characteristics reminiscent of early FET designs. With a wide dynamic range, low self-noise and high SPL capability, the mic should excel on vocals, strings, acoustic guitar, instrument ensembles, small vocal groups and voiceovers. To boot, the entire 40 series is covered by AT’s lifetime warranty.
www.audio-technica.com

Shure
After announcing the acquisition of of Massachusetts-based Soundwave Research Laboratories in April this year, ribbon mics have once again returned to Shure’s catalogue – and for the first time in over 20 years. The designs, formerly named Crowley & Tripp, now represent the mainstay of Shure’s studio mic offering and remain faithful to the originals, employing the patented Roswellite shape-memory acoustic ribbon material developed by Soundwave.

“This new ribbon technology enables us to combine the characteristic ribbon sound with the durability for which Shure products are famous,” says Chad Wiggins, Shure’s wired microphone manager. “Our customers know they can use their Shure microphones in every conceivable scenario, from the most subtle vocal performance to high-SPL instruments, such as a kick drum.”

Shure’s ribbon range comprises the KSM313 dual voice ribbon microphone and the KSM353 premium bi-directional mic. Both feature Roswellite ribbons, which provide significant resilience and durability under harsh conditions, including extreme SPLs.

While neither microphone would be out of place on prestige recording sessions, it is the latter that represents the flagship of the range. Its custom ribbon motor assembly tailors bass response without attenuating the overall output for full low and mid ranges, and superior upper range presence from a rising frequency response. A double-shielded, matched, full-size transformer minimises signal loss and maximises output, while reducing magnetic and RF interference from 90-degree placement, offset relative to the ribbon. The 353 can handle up to 146dB across the 30Hz to 15kHz frequency range, making it ideal for capturing fast transients in vocals, acoustic instruments and concert halls.
www.shure.com

Sontronics
When three musical talents involved in creating the renowned sound of Queens of the Stone Age pipe up with enthusiasm for a newcomer on the studio mic scene, it’s difficult not to take notice.

In recent months, this is just what has happened, with founding member and producer Josh Hommes, former guitarist, engineer and producer Alain Johannes and Justin Smith – who engineered the band’s last album Era Vulgaris – all waxing lyrical about various models in Sontronics’ studio range.

The phantom-powered, multi-application ribbon mic, Sigma, seems to get most of the attention, with Smith referring to it having the ability to “handle anything from quiet, non-distorted guitar to balls-to-the-wall, amp-on-11 type stuff”. Johannes is just as convinced, remarking: “The Sigma has quickly become my favourite ribbon microphone. It has warmth and a natural open sound, yet carries enough presence to command its own space alongside hypey modern mics. On vocals it is classy and creamy sounding, with a wonderful immediacy. It excels as a room mic for drums because of its ability to balance the weight of the kit with the cymbal sizzle. I often use it to anchor the drum sound.”

Also on offer from the British firm is Apollo, a stereo sister model to the Sigma, the Orpheus multi-pattern condenser, Omega valve cardioid condenser and Helios variable-pattern valve condenser. Johannes speaks highly of the latter, noting: “I love the way the Helios translates a singer's emotion even in the midst of a raging guitar track.”
www.sontronics.com

Avant Electronics
Working to the motto ‘affordable excellence’, Avant Electronics produces a wide range of ribbon, FET and tube mics created by pro audio consultant and scrupulous designer Ken Avant.

Established models include the CR-14 dual ribbon and CK series cardioid, multi-pattern and stereo FETs, but the company has recently added a brand new tube mic, the multi-pattern BV-1, to its range.

Featuring a select low-noise Russian 6072A tube, the BV-1 can handle maximum SPLs of 134dB and is sensitive down to -35dBV levels across a frequency range of 25Hz to 20kHz. Output impedance is less than 200 Ohms and equivalent noise level, less than 18dB.

Grammy award-winning producer and engineer Ray Kennedy says of the BV-1: “The sound is rich and full with incredible fat, yet tight, low end, smooth throughout the entire midrange spectrum and extremely pleasing in detail and clarity in the high frequencies. Vocals sound so real and alive, like the singer is sitting on the console during playback.”
www.avantelectronics.com

Royer
Another relative newcomer, Royer celebrated a decade in the business in 2008, yet the rate at which it established itself as a major player cannot easily be overstated.

The company was founded on the R-121, the first major revision of the standard ribbon microphone design. The R-121 shunned the large, heavy and fragile character of its predecessors for something quite the opposite. It was an instant hit in 1998 and reintroduced scores of recording engineers to the benefits of ribbon mics.

The R-121 remains the company’s flagship today and is widely considered as a standard for tracking electric guitar and brass.

Despite this, it was an SF-12 model that was used to record what the firm believes to be the best example of what a ribbon mic is capable of: the Canadian engineer Russell Dawkins’ single stereo track recording of the Ukrainian Radio Television Orchestra.

Royer is so proud of this example that it has made it available on its website and often plays it to visitors to its offices. Incidentally, every Royer design is tested on
classical instruments and over full orchestras before getting a green light.
www.royerlabs.com

Audio Engineering Associates
AEA, as it is more manageably (and thankfully) referred to, is the ribbon mic outlet of forensic audio expert Wes Dooley, who established the company with the re-creation of RCA’s 44 after two decades representing and servicing the BBC 4038 in the US.

As well as becoming a staple with the likes of Bruce Swedien and a regular on LA scoring stages, Dooley’s R44 became Les Paul’s favourite mic and its success gave way to the company’s first original design, the AEA R84, a general-purpose mic, ideally suited to solo and accent work. More recently, with the A440, Dooley has refined the R44 design, introducing phantom power and a Lundahl transformer for a stronger signal.

AEA unveiled its latest mic at AES New York last month – the A840 active studio ribbon. Also designed for accent and solo work, it offers the ‘big’ sound of the R44, but its bass proximity effect is less pronounced and the upper ten to 20kHz octave is stronger than the A440.
www.ribbonmics.com

AKG
With one of the longest heritages in the business, the esteemed Austrian manufacturer offers a select line-up of studio mics, many of which are based on proven – and, in some cases, legendary – designs that have been tried and tested over several decades.

A good illustration of this is the C 12VR, the only tube model in the pro range, but essentially the only one of its kind that the company really needs to offer those in the market.

An exact replica of one of the most famous mics ever built, the C 12, the mic was recreated at the request of countless engineers.

While some components (and its self-noise levels) have been optimised in line with current standards, the nine remotely selectable polar patterns, celebrated large-diaphragm capsule and original 6072A vacuum tube remain.

The studio mic for which AKG is probably best known though is the C 414, used at some point by almost every studio engineer since 1971. The 414 was thrown back into the limelight last month when AKG announced that it had produced two upgraded versions, the C 414 XLS and C 414 XLII.

Both models offer nine pickup patterns, peak hold LEDs to display even the shortest overload peaks, three switchable bass cut filters and three pre-attenuation levels that allow lead vocals and solo instruments to be placed in the densest of mixes.
www.akg.com

JTS
Better known for its wireless mic systems, JTS nevertheless produces some excellent studio mics that show just what can be had in the same price range as a decent dynamic mic.

Central to the range is the JS-1 with its super-thin, contoured, one-inch, 24K gold-plated diaphragm, which provides transparent reproduction of high SPL signals across the frequency range. A switchable 10dB pad is built-in to increase the SPL capabilities.

A multi-pattern version of the JS-1, the JS-1T is also available, providing three selectable polar patterns: cardioid, omnidirectional and figure-8. It is the JS-1 tube, however, that is the jewel in the crown, with nine switchable polar patterns and a tube warmth to liven up any acoustic track.
www.jts.com.tw

Beyerdynamic
Alongside its ever-popular M 130 and M 160 ribbon mics, considered reliable workhorses by many engineers, Beyerdynamic has been busy in recent years, adding several mics to its studio line-up.

Most notably, the MC 840 is a compact, large diaphragm model with a gold vaporised double diaphragm and five selectable polar patterns (omnidirectional, wide cardioid, cardioid, hypercardioid, figure-8). Building on the MC 740 microphone capsule, the new mic has been equipped with an improved low-noise pre-amplifier and an impedance transformer without transducer. Due to a two-stage roll-off filter (80 and 160Hz) compensating for the close miking effect and a two-stage pre-attenuation (-10 and -20dB), the MC 840 is suitable for any application, including the recording of orchestras.
www.beyerdynamic.de

MXL
Known for many years by those in the pro audio business purely as a manufacturer of affordable mics for the musical instrument market, it wasn’t until the launch of the Genesis that MXL – the professional audio division of Marshall Electronics – also began to be recognised as a player in the high-end market.

The Genesis was the first MXL mic to be priced above $500, but, like its budget-conscious siblings, comes equipped with spec list that seems to outweigh its price.

Designed primarily for vocals, Genesis has been highly  praised throughout the studio community for its clean highs, warm mids, and tight bottom-end, attributed, in part, to its Mullard 12AT7 tube.

The Genesis also includes a 100Hz, 6dB octave roll-off switch for suppressing undesired, structure-borne sound and a-10dB pad that enables the mic to handle high SPLs. “Make no mistake, this is a high-end tube microphone with the kind of features you find in models priced thousands of dollars more,” asserts Jim Mona, MXL’s national sales manager. “Ask anyone who’s tried the Genesis and they’ll tell you it’s the most unbelievable mic at any price.”

MXL has since followed up the Genesis with other high-end models such as the V89 studio condenser and Gold 35 gold-plated, large-diaphragm condenser. The latter, with 35mm gold diaphragm, low-noise circuitry, fixed cardioid pickup pattern and high SPL capability, is the flagship of the range.
wwww.mxlmics.com

Røde
Based in Sydney, Røde produces an array of studio mics from the small diaphragm solid state NT5 to the large diaphragm Classic II tube (or valve as they would refer to it down under).

The Classic II is Røde’s top-of-the-line studio condenser microphone, featuring a custom spec one-inch dual diaphragm capsule, feeding a vintage twin triode General Electric JAN-6072 valve and custom Jensen output transformer. Nine polar patterns and a variable pad and filter allow adjustment for optimisation in various situations.

Among all the unusual specs in this article, the satin nickel-coated, glass bead-blasted, hand-polished, solid brass body is definitely worth a mention.
To add to the Classic II’s credentials, it counts itself among a select group of mics that have been given express approval from rap veteran and all-round crowd-pleaser Snoop Dogg. “My vocals get both clarity and presence,” he says. “I’ve got to have this mic.”
www.rodemic.com