Archive for the ‘mic shootout’ Category

Shortly after completing my review of the AEA N22, I was contacted by Patrick Timmons from a company I had honestly never heard of before….Feather Microphones.

Patrick said he had some mics that he wanted me to try out.  I was happy to oblige, as I love trying out new gear, and telling my audio friends about it. Patrick sent me two different models, the Black Beauty and the Blonde (ash).

From the moment I opened the UPS package, I knew that Patrick takes pride in his products. They came in an ample sized water tight pelican style case.  The mics fit quite snugly in the cushioned insert and further came in a velvet type pouch.
The mics themselves are beautifully designed.  They look like a work of art.

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As the XLR connector is the only thing occupying the bottom of the mic, they require a generic shockmount that will fit multiple sized mics.  Patrick happily sent me an extra to use.

I tried the mics out on a number of different instruments (drum overhead, drum room, upright bass, acoustic guitar, lap steel and ukulele) and shot it out against of few other ribbons and old standbys.  I enjoyed the Black Beauty personally, so I stuck with that one for the remainder of my testing.

(At the very bottom you will find a link to download a few samples)

Overall, I found that the Feather excels with acoustic instruments.  It sounds quite natural.  I honestly wasn’t a fan of it on drums at all. I found it to be quite harsh on the high end, which is odd for a ribbon. The cymbals had a strange bite to them which I found pretty unusable as an overhead or drum room mic, almost like some weird phase incoherence in the upper frequencies. I’d be curious to find out what causes this. I have my assumptions, but I’m not qualified to voice my speculations.

My colleague, Tim Mauldin and I recorded a few acoustic songs for singer/songwriter, Lilly Pappas, and I use the Feather everywhere I could.  We put the Feather up against a “ribbon standard” (the Royer R-121) on acoustic guitar.  The Feather had an upper midrange that just sounded “right”.  I literally didn’t EQ it at all in the final mix.   Same with the lap steel.  I had the Feather sitting in front of a Fender ’57 Deluxe Reissue.  With the exception of notch filtering some hum out of the amp, no EQ was used and no compression was used.

On upright bass, it sounded surprisingly close to my AT4050.  The Feather had a bit more “woodiness” to it. So if you’re looking for a natural sounding mic for bass or maybe cello, this mic is great. I ended up using the Feather in my mix over the AT4050.  Although the AT was more than usable and maybe even had a rounder bottom, the Feather just seemed sit better in the mix.

If you are looking for a nice neutral ribbon mic for acoustic instruments, I would seriously consider getting your hands on a Feather. They will definitely be an eye catcher for your clients as well. The only big turnoff I would say is the price.  I can get an AEA N22 which is also a fantastic ribbon for $300 less.  Granted, they aren’t for the same purpose, in my opinion, but there are a lot of mics you can also buy for $1200.  Although, I could argue that the service is second to none, Patrick is fantastic, and you would be supporting a small startup business. He was extremely responsive with any questions that I had, and went out of his way to make sure I had a good experience with his gear.

Here is a link to download a few samples of the mic.

In the zip file you will find a comparison of the Feather and Royer on acoustic guitar, lap steel, and bass.  For guitar and steel, the mics were place right next to each other.  On the upright bass the AT4050 is about 1 foot above the bridge, and the Feather is right at the bridge (so not a completely direct comparison).  There is also a song that was recorded using almost entirely the Feather microphone (all stringed instruments).  It turned out pretty amazing I think.  Virtually no EQ or compression on this track.  Vocal performance by Lilly Pappas Bjorklund, and all other instruments performed by Tim Mauldin.

Alternately, you can stream the song below.

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My friend Travis Atkinson over at AEA Microphones was kind enough to send me the new N22 Active Ribbon to try out this week. I’m always in search of a new guitar mic to use.  Let’s face it, even though we gravitate towards that SM57, we’re all kind of tired of using it.  I like a Beyer M201, and recently I started using my Beyer M69 which I’ve always blown off….it’s a nice sleeper mic.   What I really love though is a 57 paired with a ribbon.   You get the upper mid range bite out of the 57 plus the warmth and depth of the ribbon.   So I was excited when Travis told me about the N22.

Local St. Louis guitar player, Tim Mauldin, and I were working on project so I decided to mic up the rig with the N22.  He brought in a Matchless which he runs through a Bad Cat combo minus the amp.  He brought up his newer Gretsch and I currently had in my possession a vintage ’58 Anniversary…….*insert homer drooling sound*.

Since it would be a little difficult to get all mics on the same speaker I placed the 57 on the opposite side.  Paired to together on the same cone was a Royer R-121 and the AEA N22.  I wanted to see how the N22 stacked up against the Royer in addition to how i fit with the 57.  Tim played a rhythm part for a song we were working on in addition to laying down some lead parts.  (both are posted below).  All tracks were run through a Vintech 473 and level matched as best as I could and then straight to Pro Tools HD (192 I/O).

I have to say, the N22 in a phenomenal guitar mic.  Not only did it blow the Royer out of the water in my opinion, but it’s great just all by itself!  Most ribbons I’ve used sound best when paired with another mic.  I don’t usually like them alone.  The N22, once you add a little upper mids to it and take out a bit of beef, it sounds stellar…..and that’s what we ended up using for the track.  The Royer was just a bit too woolly and dark to stand on its own.  There is a clarity to the N22 that just works.  It’s a little pricey, but compared to a Royer, definitely comes in under budget if you’re looking to spend that kind of cash.

I said that this was going to be a quick review, so I’ll keep to my promise.  If you’re looking for a new mic to expand your sonic palette on guitars, I would seriously consider this mic.  Take a listen for yourself, and YOU be the judge.  Below I’ve included some audio samples.  The rhythm guitar clip is short, but you should be able to loop it easily in your DAW.  I’ve included the 57, Royer, and AEA with both lead and rhythm sections.

Enjoy!

DOWNLOAD MIC SHOOTOUT SAMPLES