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Ribbon Microphones

AEA
Avantone

BeyerDynamic
Coles

Peluso Microphone Lab
Royer Labs

sE Electronics
Shure

Inspired by AEA’s forty years of experience with ribbon mics, particularly 44s, the <B>AEA A440 </B>has the greatest useable dynamic range of any ribbon microphone manufactured today. The A440 is also the quietest ribbon microphone in existence.
<BR><BR>
At the low frequency end the A440 delivers bass with effortless authority.  It has a flat frequency response and holds an accurate figure-eight polar pattern down to 20 Hz. The A440 has a smooth and articulate midrange, and at the high end, transients are quick and detailed without hard edges.  
<BR><BR>
Musicians and engineers say that what they hear during playback, is exactly what they heard in the studio.  It is one of the best sounding mics ever made for recording acoustic music.
<BR><BR>
All AEA mics are hand built in Pasadena, California. However the A440, is built to order as an AEA Service Shop Special.  The physical appearance is like the R44C, but with a standard finish of umber gray.  
<BR><BR>
Do not wait to try this mic.  Please call us today to arrange to hear the A440.

AEA A440 Ribbon Microphone
Finally, a high performance phantom-powered Big Ribbon
Special Order Only

The <span style="font-weight: bold;">AEA A840</span> is different from other microphones. One listen and the AEA A840 stands out with its big, clean sound. It’s an ideal spot mic with its tight pattern, smooth extended top, and less proximity bass boost than the R44 and A440. The A840 effortlessly handles a broad range of applications from accent to ensemble.<br><br><span style="font-weight: bold;">AEA A840 Features</span><br><ul><li>High Output</li><li>Compatibility with any preamp and input source</li><li>Low self noise of 17.5 dB (A)</li><li>Fast, accurate transient reproduction</li><li>High SPL capability of 141 dB</li><li>Single-diaphragm with well-controlled, native figure-8 polar pattern</li><li>Wide-band response from below 20 Hz to beyond 20 kHz</li></ul>The AEA A840 and other AEA Big Ribbon mics are excellent digital recording tools. Digital has different limitations than analog. The digital recording process is capable of preserving razor sharp details for generations. So it makes sense to use microphones that fit well into the final mix from the start. AEA Big Ribbon mics with their smooth, natural and easy-to-EQ sound have enjoyed a rebirth as digital recording has blossomed.<br><br>Over 30 years of servicing ribbon mics taught AEA what users like, and they all like the big sound of the RCA 44. Preserving and reintroducing that sound became an AEA mission. The AEA R44 and A440s, robust, heavy, and expensive to manufacture, are now in daily use worldwide. But that’s just the beginning of the story.<br><br><span style="font-weight: bold;">How can AEA preserve and update that Big Ribbon sound in a more affordable package using new technologies?</span><br>The A840 uses the same big ribbon as the A440, is 5 pounds lighter, and less bulky. Due to its active JFET impedance buffer circuitry the new A840 is insensitive to lower preamp input impedances. The high output sensitivity reduces noise and allows long cable runs.This allows you to use your favorite tube preamp without compromising your classic ribbon sound. Designed for accent and solo work, its bass proximity effect is less pronounced and the upper 10 to 20 kHz octave is stronger than the A440.<br><br><span style="font-weight: bold;">Why do the AEA Big Ribbon mics sound so different when compared to other microphones?</span><br>Classic condenser diaphragms are radially stretched. They typically have sharp, narrow resonances in the 8 to 12 kHz range, the sound quality we refer to as “tizz”. AEA  Big Ribbon mics use a long rectangular diaphragm clamped only at the ends and tensioned lightly with a fundamental resonance below 20 Hz. Less than 80 millionths of an inch thick, AEA's ultra low mass transducer has extended bass, excellent transient response and few resonances. It’s one of the most sensitive and accurate transducers possible. Many have commented that AEA mics record exactly what your ear hears. Excellent headroom and low distortion allow close micing with an A840 without sounding brittle. Additionally the smooth, non-resonant high end provides engineers considerable EQ flexibility. Try it, you’ll enjoy it.

AEA A840 Active Ribbon Microphone
Active Ribbon Microphone

<p>The <strong>AEA KU4</strong> celebrates the legendary RCA unidirectional KU3A, a high sensitivity microphone designed for the Hollywood movie studios. Also known as a M-10001 for its manufacturing number, it was RCA’s most expensive ribbon microphone. Fewer than 600 were ever manufactured. <br><br>What made the KU3A special? It combined the smooth ribbon sound of a 44 with a unidirectional pattern, a wide sweet spot and less proximity bass boost. It expanded an engineer’s range of placement choices and became a standard at film studios around the world.<br><br>Although condenser mics became the new standard by the end of the 1960s, ribbon mics are still appreciated today by experienced music recording engineers. However the KU3A is a rare microphone, a collector’s item, and few studios or rental houses own them. Opportunities to work with a good KU3A are limited.<br><br>We are proud to expand your opportunities with the AEA KU4 featuring an RCA ribbon, interchangeable KU3A parts and consistent performance.<br><br><strong>Features</strong></p>
<ul>
<li>Contemporary realization of the RCA KU3A classic</li>
<li>Supercardioid pattern for excellent rear rejection</li>
<li>Reduced proximity effect</li>
<li>Smooth, high-bandwidth frequency response</li>
<li>Authentic New Old Stock RCA ribbon material</li>
<li>High-quality anodized & nickel-plated finish</li>
<li>Custom AEA transformer, neodymium magnets</li>
<li>Consistent Quality</li>
<li>Field-tech replaceable ribbon assembly</li>
<li>Hand-crafted in Pasadena, California</li>
</ul>
<p><strong>How is the KU4 different from other ribbon microphones?</strong><br>The KU4’s suppressed rear lobe is useful when the back of a figure-of-eight would pick up undesirable sounds. The KU4’s reduced proximity bass boost facilitates closer micing and its low-tuned ribbon delivers solid, undistorted bass. These characteristics make the KU4 well suited for modern studio production. <br><br>Its lightly-tensioned, ultra low mass ribbon has a frequency response out to 40 kHz and fast, accurate transients. There is no upper midrange ringing common to large condenser mics. The KU4’s ribbon is well protected and its field-tech replaceable pole piece and ribbon assembly is a real convenience if an accident occurs.<br><br>The KU4 is your ticket to discovering why the KU3A has been part of high-end studio life for over 60 years. AEA is honored to play a part in its history, and invites you to listen to the KU4 and claim your part of this legacy.<br><br><strong>Specifications</strong></p>
<ul>
<li><strong>Operating Principle: Velocity microphone</strong>
<ul>
<li>Frequency Response: Below 30 Hz to above 20 kHz</li>
<li>Maximum SPL: 140 + dB SPL above 200Hz for 1% third harmonic</li>
<li>Output Sensitivity: 2.8 mV/Pa into unloaded circuit</li>
<li>Output Impedance: 300 Ω nominal</li>
<li>Recommended Load: 1.2 KΩ or greater</li>
<li>Phantom power: Not required or recommended</li>
<li>Polarity: Pin 2 high for positive pressure at the front of the microphone.</li>
<li>Connector: XLR-3M wired to a 1.5 meter captive cable</li>
</ul>
</li>
<li><strong>Off Axis Response</strong>
<ul>
<li>Polar Pattern: Supercardioid</li>
<li>Relative Output at 180° (dB): -12</li>
<li>Angle of Maximum Rejection: 135°</li>
</ul>
</li>
<li><strong>Transducer element</strong>
<ul>
<li>Ribbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum</li>
<li>Ribbon Width: 0.082” (2.1 mm)</li>
<li>Ribbon Length: 1.25” (28.6 mm)</li>
</ul>
</li>
<li><strong>Accessories</strong>
<ul>
<li>Included: Custom storage/shipping case, stand adapter, manual and</li>
<li>attached 1.5 meter microphone cable</li>
</ul>
</li>
<li><strong>Limited Warranty</strong>
<ul>
<li>Three years parts and labor, shipping not included.</li>
</ul>
</li>
</ul>

AEA KU4
Unidirectional ribbon microphone based on the classic RCA KU3A

The <strong>AEA KU4</strong> celebrates the legendary RCA unidirectional KU3A, a high sensitivity microphone designed for the Hollywood movie studios. Also known as a M-10001 for its manufacturing number, it was RCA’s most expensive ribbon microphone. Fewer than 600 were ever manufactured. <br><br>What made the KU3A special? It combined the smooth ribbon sound of a 44 with a unidirectional pattern, a wide sweet spot and less proximity bass boost. It expanded an engineer’s range of placement choices and became a standard at film studios around the world.<br><br>Although condenser mics became the new standard by the end of the 1960s, ribbon mics are still appreciated today by experienced music recording engineers. However the KU3A is a rare microphone, a collector’s item, and few studios or rental houses own them. Opportunities to work with a good KU3A are limited.<br><br>We are proud to expand your opportunities with the AEA KU4 featuring an RCA ribbon, interchangeable KU3A parts and consistent performance.<br><br><strong>Features</strong></p>
<ul>
<li>Contemporary realization of the RCA KU3A classic</li>
<li>Supercardioid pattern for excellent rear rejection</li>
<li>Reduced proximity effect</li>
<li>Smooth, high-bandwidth frequency response</li>
<li>Authentic New Old Stock RCA ribbon material</li>
<li>High-quality anodized & nickel-plated finish</li>
<li>Custom AEA transformer, neodymium magnets</li>
<li>Consistent Quality</li>
<li>Field-tech replaceable ribbon assembly</li>
<li>Hand-crafted in Pasadena, California</li>
</ul>
<p><strong>How is the KU4 different from other ribbon microphones?</strong><br>The KU4’s suppressed rear lobe is useful when the back of a figure-of-eight would pick up undesirable sounds. The KU4’s reduced proximity bass boost facilitates closer micing and its low-tuned ribbon delivers solid, undistorted bass. These characteristics make the KU4 well suited for modern studio production. <br><br>Its lightly-tensioned, ultra low mass ribbon has a frequency response out to 40 kHz and fast, accurate transients. There is no upper midrange ringing common to large condenser mics. The KU4’s ribbon is well protected and its field-tech replaceable pole piece and ribbon assembly is a real convenience if an accident occurs.<br><br>The KU4 is your ticket to discovering why the KU3A has been part of high-end studio life for over 60 years. AEA is honored to play a part in its history, and invites you to listen to the KU4 and claim your part of this legacy.<br><br><strong>Specifications</strong></p>
<ul>
<li><strong>Operating Principle: Velocity microphone</strong>
<ul>
<li>Frequency Response: Below 30 Hz to above 20 kHz</li>
<li>Maximum SPL: 140 + dB SPL above 200Hz for 1% third harmonic</li>
<li>Output Sensitivity: 2.8 mV/Pa into unloaded circuit</li>
<li>Output Impedance: 300 Ω nominal</li>
<li>Recommended Load: 1.2 KΩ or greater</li>
<li>Phantom power: Not required or recommended</li>
<li>Polarity: Pin 2 high for positive pressure at the front of the microphone.</li>
<li>Connector: XLR-3M wired to a 1.5 meter captive cable</li>
</ul>
</li>
<li><strong>Off Axis Response</strong>
<ul>
<li>Polar Pattern: Supercardioid</li>
<li>Relative Output at 180° (dB): -12</li>
<li>Angle of Maximum Rejection: 135°</li>
</ul>
</li>
<li><strong>Transducer element</strong>
<ul>
<li>Ribbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum</li>
<li>Ribbon Width: 0.082” (2.1 mm)</li>
<li>Ribbon Length: 1.25” (28.6 mm)</li>
</ul>
</li>
<li><strong>Accessories</strong>
<ul>
<li>Included: Custom storage/shipping case, stand adapter, manual and</li>
<li>attached 1.5 meter microphone cable</li>
</ul>
</li>
<li><strong>Limited Warranty</strong>
<ul>
<li>Three years parts and labor, shipping not included.</li>
</ul>
</li>
</ul>

AEA KU4 (Demo Deal)
Unidirectional ribbon microphone based on the classic RCA KU3A

AEA R44C
Bi-Directional Long-Ribbon Microphone

AEA R44CE Ribbon Microphone
Ribbon microphone with XLR cable and protective case

AEA R84 Matched Pair
Ribbon Microphones

AEA R84 Ribbon Single
Multi-purpose ribbon microphone

To commemorate 25 years of selling ribbon microphones, Audio Engineering
 Associates has created the <span style="font-weight: bold;">AEA R84 Silver 
Limited Edition (SLE)</span>. Two years 
ago AEA made a chrome R84 to display at trade shows. Due to popular 
demand, they've decided to create a limited edition run in honor of 
twenty-five years of serving the ribbon microphone market. The R84 SLE 
is limited to a run of only 125 units.
<br>
<br>
The versatile <span style="font-weight: bold;">AEA R84 Silver Limited 
Edition (SLE)</span> large ribbon microphone is suitable for a wide 
range of instruments, including brass, strings, percussion, electric 
guitar and bass. At just 0.00007 of an inch the ultra-thin, low-tension 
ribbon element of the R84 ensures a quick response, whatever the 
application. Capable of handling better than 165 dB SPL at higher 
frequencies, when used on vocals or instruments the R84 offers a 
performance that is intimate, warm and detailed, yet not ever harsh. <br><br>The
 AEA R84 is supplied in a complete system that includes a shock mount, 
6-foot mic cable and sturdy foam-lined carrying case. Weighing-in at 
under two pounds (0.9 Kg) and measuring eight inches (30 cm) tall and 
2.7 inches (7 cm) in diameter.

AEA R84 Silver Limited Edition (SLE)
Special Limited Edition version of the R84 Multi Purpose Ribbon Microphone with a mirror chrome finish.

The <span style="font-weight: bold;">AEA R88 mk2</span> is optimized for
 recording instruments and ensembles in stereo. The R88 uses the large 
ribbon configuration of the classic RCA 44 series mics, which gives the 
mic solid 20Hz bass response and a smooth high end which is flattering 
to complex tones.<br><br>There is no easier way to track in stereo than 
with a stereo microphone with two configured transducers in a single 
sleek package. A stereo microphone is highly useful in recording 
situations in which it is more convenient or aesthetically pleasing to 
have a single housing for both capsules, such as for drum overheads or 
live concert recordings.<br><br>The R88 has a natural sound because it 
is the pure sound of two undamped long ribbons. If the basic 
characteristics of a transducer element are in accordance with a few 
primary physical laws, it will sound good without requiring any extra 
acrobatics. The simpler the physics, the less adulterated the sound of a
 transducer will be because it will introduce fewer artifacts into the 
electrical signal that were not part of the original airborne sound 
signal. An undamped long ribbon is a good example of just such a 
transducer.<br>MS Stereo Setup<br>View larger image<br><br>The R88 has 
been optimized to produce the most natural stereo pickup possible with 
ribbon transducers. The R88 has two figure-8 ribbons angled at 90 
degrees to each other (Blumlein configuration). It has a uniform polar 
frequency response and excellent off-axis frequency response. The high 
quality passive electronics ensure a large dynamic range with minimal 
distortion. The R88 will sound best with a preamp that has at least 60dB
 of clean gain, a low noise floor (-127dB EIN or better) and input 
impedance of at least 1.5 kOhm.<br><br>The R88 has a well-defined center
 image, because of the phase characteristics of a coincident 
arrangement. In other words, the stereo effect comes primarily from 
level differences between the channels, with only minimal phase effect. 
This means that anywhere in the front quadrant of the microphone, will 
be recreated with a strong three dimensional sense; the location of 
instruments in the soundstage is easily and very precisely perceived. 
Recording in front of the center line on the caps will produce a solid 
and stable center image when played back over monitor speakers, with a 
sense of space and ambience that reflects the acoustic quality of the 
recording environment.<br><br>The R88 is minimally protected from wind 
blasts for the most natural sound quality possible, so a pop filter 
should be used when making close vocal recordings. The R88 may be used 
for both Blumlein stereo and M-S Stereo recording techniques. The mic is
 finished in Stealth black to reduce visibility in live recording 
situations, and features an integral shock suspension to reduce noise 
coupled through the mic stand.<br><br>The natural sound of the R88 makes
 it a great choice for the main mic that forms the backbone of your mix.
 The R88 is an excellent orchestral, chamber, and choral recording 
microphone, and shines on studio applications such as horn sections and 
stereo piano pickup. The R88 also flatters complex tones such as 
woodwinds, strings and cymbals.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Matched pair of Large Ribbon Geometry figure-eight mics for 
Blumlein or MS stereo</li><li>20 hz to 20 kHz response</li><li>Built in shockmount suspension</li><li>Terminates in a 5-pin XLR male and includes a 4 meter 5-pin female
 to 3-pin xlr male breakout cable</li><li>Supplied with a swivel adapter for flexible positioning</li><li>Designed to fly overhead for large venue installations</li><li>Three pounds plus the cable weight</li><li>2.5" diameter and 14" tall</li><li>Black stealth finish</li><li>Sturdy zippered case</li></ul>
<span style="font-weight: bold;">Specifications</span><br>
<ul><li>Transducers: dual 2" ribbons oriented at 90 degrees</li><li>Sensitivity: -52dBV/Pa</li><li>Frequency Response: 20Hz–15kHz (± 3dB)</li><li>Output Impedance: 270 ohms</li><li>SPL Handling: 165dB SPL at 1 kHz</li></ul>

AEA R88 mk2 Microphone
Stereo Ribbon Microphone for Blumlein/MS

In the past few years AEA's acclaimed R84 Ribbon Microphone has become a new studio standard. Now AEA has once again expanded the sonic possibilities of ribbon mics with the <B>AEA R92 Ribbon Microphone</B>. Reduced proximity bass boost and excellent wind blast protection make it suitable for close micing (6-12 inches) of guitar amps, vocals, percussion, etc. In addition, the smooth high frequency response of the R88 transducer has been further extended in the R92 making the R92 a unique voice in the world of ribbon mics. AEA has designed the R92 to have slightly different tones on the front and rear pickup lobes of the microphone. The front lobe of the R92 is the "crisp" side, offering exceptionally clean and realistic high end detail. The rear lobe is the "smooth" side, which has a bit of classic ribbon high end rolloff that can help to handle harsh transients in a very refined and flattering way. Just like its bigger brothers in AEA's LRGTM microphone series, the bass reproduction of the R92 is very solid and extended to the lowest audible bass frequencies. The R92 is designed with an integral elastic shock mount, featuring a unique mounting system that allows excellent flexibility of mic positioning. The mic ships with a two meter cable and a durable plastic carrying case.<BR><BR>AEA's Matt Ashman comments about the R92: "We designed it to have a very full range sound, and to capture it all with a minimum of resonance artifacts for the ultimate in realism. It's perfect for getting FAT guitar sounds with a present and clean high end."'<BR><BR><B>Transducer element</B><BR>
<UL>
<LI>Ribbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum 
<LI>Ribbon Width: 4.7 mm 
<LI>Ribbon Length: 59.7 mm</LI></UL>

AEA R92 Ribbon Microphone
Large Geometry Studio Ribbon Microphone

This elegantly designed bi-directional (figure 8) velocity ribbon microphone is intended for use in modern, state-of-the-art studios as well as private home studios. It offers the unique, pleasing sonic character that is similar to those classic ribbon mics of yesteryear. <br><br>The special dual-ribbon design offers a better sensitivity rating than most single ribbon mics on the market. <br><br>You will also find that it does NOT exhibit the very dark, muted character of some ribbon mics…On the contrary, you will find it to be full-range with a very, natural detailed sound. <br><br>The “in-phase” signal is achieved when the microphone is addressed from the front side of the mic. (Where the AVANTONE logo is shown) <br><br>The <span style="font-weight: bold;">Avantone CR-14</span> excels in a host of uses including studio solo vocals, group vocals and simultaneous vocal duets. <br><br>Users also report extremely good results on piano, electric guitar cabs and acoustic guitars. <br><br>The inherent natural sound of the CR-14 makes it a great choice for orchestral, woodwind & brass instruments as well as hand-percussion instruments <br><br>Very interesting and satisfying tracks can also be achieved using (2) CR-14’s for stereo tracking. <br><br><b>Avantone CR-14 Ribbon Microphone Features</b> 
<ul>
<li>Unique, elegant “retro” body design 
</li><li>Dual, Low-Mass Ribbon element which enables a much better sensitivity rating than most single ribbon designs 
</li><li>Fast accurate transient response, ultra-high 148 dB SPL capability, and overall stunning realism 
</li><li>Figure-8 audio directionality (pickup) pattern via front and rear, with extended sweet spots (as compared to Large Diaphragm condenser mics & single ribbon designs) 
</li><li>Low residual noise 
</li><li>No power supply required 
</li><li>No internal active electronics to overload or produce distortion 
</li><li>Manufactured using the finest materials yielding a very solid feel, superb structural integrity and rugged reliability 
</li><li>5 Year Warranty </li></ul>

Avantone CR-14 Ribbon Microphone
Includes mic, wooden box and shock mount in aluminum case

BeyerDynamic is one of few microphone manufacturers world-wide that 
still produce ribbon microphones. One of them is the legendary <b>BeyerDynamic M 130</b>.
 The M 130?s unique double ribbon element has a superb transient 
response, creating a highly detailed sound with unequaled accuracy and 
transparency. The bidirectional figure eight polar pattern effectively 
suppresses unwanted interference from the sides. The M 130's balanced, 
uncolored sound handles a wide variety of applications. In conjunction 
with the hypercardioid M 160, the M 130 is ideal for creating an 
authentic stereo image through the use of the MS- (Mid-Side) technique.
<br><br>
The M 130 gives excellent results when the Mid-Side technique is used to
 record or broadcast a true stereo image. Its rugged Design handles the 
demands of remote recording/broadcast sessions as easily as those of the
 studio. Alone, the M 130 allows the recording of background audience 
noise and concert hall "ambience" without unwanted resonances. In the 
recording studio it is effective with backing vocal groups, percussion 
and mounted toms. The M 130's crisply articulated, uncolored sound is 
well suited to such demanding audiophile applications as digital and 
direct-to-disc recording.
<br><br>
<b>Features</b>
<ul><li> Double ribbon microphone

</li><li> Consistent figure-eight polar pattern throughout frequency response

</li><li> Superb transient response

</li><li> Compact and rugged design

</li><li> Characteristically warm and natural sound
</li></ul>

BeyerDynamic M 130
Figure 8 Ribbon Microphone

A must have for the ribbon mic lover, the <B>Beyer Dynamic M160</B>'s unique hyper cardioid pattern sets it apart from Coles and Royer microphones. Great on on overheads, guitars, room mics, vocals, when wanting superior back ground noise rejection. This was a favorite for Jimi Hendrix, used as a guitar mic. <BR> <BR>The amazing drum sound on Led Zeppelin's "When The Levee Breaks" was achieved with just a pair of M 160's placed at the top of a tall staircase with the drums below.<BR><BR>The M 160 features a hypercardioid polar pattern with a noise attenuation of 25 dB at 110°, the M 160 is an outstanding microphone which is very effective for all types of remote and in-studio voice reproduction. In the recording studio, the M 160 is recommended for miking string instruments such as violins, violas, cellos and for pianos, saxophones as well as for hi-hat and toms. The non-glare black surface of the M 160 and its small dimensions allow the unobtrusive use in TV or film studios. In conjunction with the M 130 dynamic double ribbon microphone the M 160 is ideal for stereo recordings in MS technique. <BR><BR><B>Features</B> <BR>
<UL>
<LI>Unique double ribbon microphone transducer
<LI>Hypercardioid polar pattern
<LI>Extended frequency response
<LI>Excellent transparency and transient response
<LI>Compact and rugged design
<LI>Warm and natural sound </LI></UL><B>Specifications </B><BR>
<UL>
<LI>Transducer type Dynamic
<LI>Operating principle Pressure gradient
<LI>Frequency response (distant miking) 40 - 18,000 Hz
<LI>Polar pattern Hypercardioid
<LI>Side attenuation > 25 dB at 110°
<LI>Open circuit voltage at 1 kHz (0dB = 1V/Pa) 1.0 mV/Pa ≡ -60 dBV
<LI>Nominal impedance 200 Ω
<LI>Load impedance ≥ 1000 Ω
<LI>Diaphragm Pure aluminum
<LI>Case/finish Brass
<LI>Connector 3-pin XLR male
<LI>Length 156 mm
<LI>Shaft diameter 23 mm
<LI>Head diameter 38 mm
<LI>Weight without cable 156 g</LI></UL>

BeyerDynamic M 160
Classic Hypercardioid Double Ribbon Microphone

The <b>BeyerDynamic M 260</b> 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. The M 260 is equipped with a built-in high-pass-filter which compensates the close miking effect, when the microphone is applied very close to an instrument. The microphone also features a high insensitivity towards magnetic stray fields and extreme temperatures. The rugged grille protects the microphone system against accidental hits and kicks.
<br><br>
<b>The BeyerDynamic M 260 Features:</b>
<ul>
<li> Ribbon transducer performance in a rugged, versatile configuration

<li> Hypercardioid polar pattern

<li> Extremely high gain before feedback

<li> Fast, transient response

<li> Wide, flat frequency response

<li> Rugged metal casing
</ul>

BeyerDynamic M 260
Dynamic ribbon microphone (hypercardioid), with roll-off-filter, pure aluminium diaphragms

As used by the Beatles, BBC. These babies sound soooooo fat on drums,
you will need to roll off some bottom end! Stick one over the kit about
3 feet above the snare, about an inch higher than the drummers high
stick point, add some compression and you will be in heaven. Very
natural sounding. Cymbals will sound silky. The snare will sound like
it has depth and the kit will sound like you are right next to it. Add
a touch of 12k and roll off some bottom end and you are cruisin! Next,
try in front of any Electric guitar cab/amp and be equally impressed.
Put in front of a vox and capture the size, but trim off some of the
annoying edge. Smooth wide frequency response that handles high-end
transients without harshness. Classic figure-eight pattern with
proximity boost.Excellent off-axis frequency response for superior
stereo imaging. Good shock and wind resistance with a long-life ribbon
element.<br><br>The <span style="font-weight: bold;">Coles 4038 Studio 
Ribbon Microphone</span>
is a British Broadcasting (BBC) design for broadcasting and recording
applications. It is used where a clear smooth wide range frequency
response, absence of transient distortion and relatively high
sensitivity is essential.<br><br>The 4038 is a proven performer, and is
in use around the world by broadcasting networks such as the BBC as
well as top engineers and studios on hit recordings.<br><br>Frequency
response of the 4038 is exceptionally flat from 30 to 20,000 Hz and
throughout this range the shape of the bi-directional (figure of eight)
polar response is maintained substantially constant both in the
horizontal and vertical planes, giving a natural sonic quality with
smooth frequency response.<br><br><span style="font-weight: bold;">Features 
 </span><br>
<ul><li>Pressure gradient transducer ribbon microphone    </li><li>Substantially flat frequency response from 30 to 15,000 c/s</li><li>Extremely low (non-linear) distortion</li><li>Exceptionally low hum pick-up</li><li>Bi-directional (figure of eight) polar curve shape accurately 
maintained in both horizontal and vertical planes</li><li>Excellent transient response</li><li>Natural clear balanced response to sound signal</li><li>Body shape to enhance acoustic performance</li><li>Clear natural high fidelity sound reproduction</li><li>Smooth sonic textured response</li><li>All microphones factory tested in free field conditions</li></ul>
<span style="font-weight: bold;">Specifications</span><br><ul><li><span style="font-weight: bold;">Ribbon:</span> Low mass damped ribbon to 
control transient response</li><li><span style="font-weight: bold;">Polar
 Response:</span> Bi-directional</li><li><span style="font-weight: bold;">Magnetic Fields:</span> By use of hum neutralizing wiring and 
magnetic shielding of the toroidal ribbon to line transformer 30 to 40 
dB reduction is achieved in response to stray disturbing magnetic fields</li><li><span style="font-weight: bold;">Frequency Response:</span> 30 Hz to 15,000 
Hz</li><li><span style="font-weight: bold;">Impedance:</span> 300 ohm</li><li><span style="font-weight: bold;">Sensitivity:</span> -65 dB W.R.T. IV/Pa</li><li><span style="font-weight: bold;">Distortion:</span> Less than 1% at 125 dB 
SPL</li><li><span style="font-weight: bold;">Connection:</span> By means
 of 4069 3 pin jack plug. Pin 1 positive - Pin 2 negative - Pin 3 screen</li><li><span style="font-weight: bold;">Body Housing:</span> Made of heavy gauge 
perforated brass backed by finely woven Monel mesh. Rotating hinge 
connection allows microphone to tilt through 90° and turned in any 
direction when either suspended or free standing</li><li><span style="font-weight: bold;">Dimensions:</span> 7¼" (197 mm) x 3¼" (83 mm)
 x (61 mm).</li><li><span style="font-weight: bold;">Weight:</span> 2 
lb. 6 oz. (1.08 Kg).</li><li><span style="font-weight: bold;">Finish:</span>
 Black stove enamel textured paint</li></ul><span style="font-weight: bold;">Packaging<br>
</span>
<ul><li>Each microphone comes in a foam lined rigid plastic carrying case 
with 4069 jack plug, and soft cloth protective bag, for safe keeping</li></ul>

Coles 4038 Ribbon Microphone
Single 4038 including XLR-stand mount adapter and individual plastic case

As used by the Beatles, BBC. These babies sound soooooo fat on drums,
you will need to roll off some bottom end! Stick one over the kit about
3 feet above the snare, about an inch higher than the drummers high
stick point, add some compression and you will be in heaven. Very
natural sounding. Cymbals will sound silky. The snare will sound like
it has depth and the kit will sound like you are right next to it. Add
a touch of 12k and roll off some bottom end and you are cruisin! Next,
try in front of any Electric guitar cab/amp and be equally impressed.
Put in front of a vox and capture the size, but trim off some of the
annoying edge. Smooth wide frequency response that handles high-end
transients without harshness. Classic figure-eight pattern with
proximity boost.Excellent off-axis frequency response for superior
stereo imaging. Good shock and wind resistance with a long-life ribbon
element.<br><br>The <span style="font-weight: bold;">Coles 4038 Studio 
Ribbon Microphone</span>
is a British Broadcasting (BBC) design for broadcasting and recording
applications. It is used where a clear smooth wide range frequency
response, absence of transient distortion and relatively high
sensitivity is essential.<br><br>The 4038 is a proven performer, and is
in use around the world by broadcasting networks such as the BBC as
well as top engineers and studios on hit recordings.<br><br>Frequency
response of the 4038 is exceptionally flat from 30 to 20,000 Hz and
throughout this range the shape of the bi-directional (figure of eight)
polar response is maintained substantially constant both in the
horizontal and vertical planes, giving a natural sonic quality with
smooth frequency response.<br><br><span style="font-weight: bold;">Features 
 </span><br>
<ul><li>Pressure gradient transducer ribbon microphone    </li><li>Substantially flat frequency response from 30 to 15,000 c/s</li><li>Extremely low (non-linear) distortion</li><li>Exceptionally low hum pick-up</li><li>Bi-directional (figure of eight) polar curve shape accurately 
maintained in both horizontal and vertical planes</li><li>Excellent transient response</li><li>Natural clear balanced response to sound signal</li><li>Body shape to enhance acoustic performance</li><li>Clear natural high fidelity sound reproduction</li><li>Smooth sonic textured response</li><li>All microphones factory tested in free field conditions</li></ul>
<span style="font-weight: bold;">Specifications</span><br><ul><li><span style="font-weight: bold;">Ribbon:</span> Low mass damped ribbon to 
control transient response</li><li><span style="font-weight: bold;">Polar
 Response:</span> Bi-directional</li><li><span style="font-weight: bold;">Magnetic Fields:</span> By use of hum neutralizing wiring and 
magnetic shielding of the toroidal ribbon to line transformer 30 to 40 
dB reduction is achieved in response to stray disturbing magnetic fields</li><li><span style="font-weight: bold;">Frequency Response:</span> 30 Hz to 15,000 
Hz</li><li><span style="font-weight: bold;">Impedance:</span> 300 ohm</li><li><span style="font-weight: bold;">Sensitivity:</span> -65 dB W.R.T. IV/Pa</li><li><span style="font-weight: bold;">Distortion:</span> Less than 1% at 125 dB 
SPL</li><li><span style="font-weight: bold;">Connection:</span> By means
 of 4069 3 pin jack plug. Pin 1 positive - Pin 2 negative - Pin 3 screen</li><li><span style="font-weight: bold;">Body Housing:</span> Made of heavy gauge 
perforated brass backed by finely woven Monel mesh. Rotating hinge 
connection allows microphone to tilt through 90° and turned in any 
direction when either suspended or free standing</li><li><span style="font-weight: bold;">Dimensions:</span> 7¼" (197 mm) x 3¼" (83 mm)
 x (61 mm).</li><li><span style="font-weight: bold;">Weight:</span> 2 
lb. 6 oz. (1.08 Kg).</li><li><span style="font-weight: bold;">Finish:</span>
 Black stove enamel textured paint</li></ul><span style="font-weight: bold;">Packaging<br>
</span>
<ul><li>Each microphone comes in a foam lined rigid plastic carrying case 
with 4069 jack plug, and soft cloth protective bag, for safe keeping</li></ul>

Coles 4038 Stereo Matched Pair
Stereo matched pair of 4038's, including XLR-stand mount adapters and individual plastic cases

With a bold look, greater output, and a wider frequency response, the <span style="font-weight: bold;">Coles 4040</span> is sure to compliment any studio microphone cabinet. <br><br>This is the first ribbon microphone that Coles have developed using the very latest magnet technology. The frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s but where the Coles 4038 starts to drop off, the Coles 4040 carries on past 20,000 c/s and throughout this range, like the 4038, the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up. There is also no discernible stray magnetic field, making it very easy to mount head to head in a "Blumlein" (crossed figure-of-eights) stereo configuration. <br><br>The 4040 comes complete with internal shockmount that can be secured for transit, an adjustable, universal stand mount, and a hard case for storage.

Coles 4040 - Single
Coles 4040 Ribbon Mic

Coles 4050 Single Ribbon Microphone
Single ribbon microphone with shock mount

Coles 4050 Stereo Ribbon Microphone
Stereo ribbon microphone with 2 shock mounts

Results 1-20 of 45

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