Everything was tough to swallow until I heard the mic. Holycrap it brought the right parts forward for a roommic/overhead and left he brittle parts of the cymbals a bit down.
Everytime I heard someone mention how well they took eq I always underestimated that statement. I now see ribbon mics especially the coles as the equivalent of shooting RAW video which is how they film movies. If you look at the RAW image it looks flat and almost black and white but the flexibility you have in post is far more than if you used the camera's baked in colors. Thats how I see ribbon mics. They give you a flat image and you use eq (Pultec recommended) to shape it how you want and the end result is often better than using a mic that sort of bakes the eq into the mic and falls apart in comparison when pushed around with eq.
could you do a spoken word with the 4038... like just talk into for about a minute? i'm wondering what spoken voice sounds like flat and also with treble boost.
I have a question! Ive really been considering a pair of ribbon mics and I have a couple questions maybe you could help me answer! Have you found that these are very sensitive in the sense that they easily can overload a preamp if they are to close to a source? I ask because I watched a ribbon mic shootout in which he placed the ribbon mics a couple feet in front of a kick drum, but the Coles was about 6-8 feet further back than all the other mics because they said that was the closest they could get it without overloading the preamp! That makes me worry that if I get these there will be situations that I can't even use them. Have you found this on any sources yet? Also have you used them as anything other than OH or room? I guess my only other question would be, through your research have you come to learn that Coles 4038's are much easier to damage/break than most all other ribbon mics, or did Coles just mean that they could be easily damaged in the sense that most ribbons could be damaged? Any info you could share would help. The main Ribbons Im considering so far are the Coles 4038's, AEA R84's, Royer R-10's.
Hey man, great questions. As far as overloading the mics, I wouldn't worry - most people have more of a problem getting enough gain and sometimes use Cloudlifters or the like. The only reason I wouldn't get them too close to a source would be for overloading the ribbon itself, which gets to your next question. In my research it doesn't seem that they're particularly more fragile than other ribbons, and indeed the housing is incredibly solid. That said, the Royer 121s (and possibly the R10s?) I know are a lot more bulletproof. So if I was looking for a sturdy workhorse I'd go with those. If you want a cheaper short ribbon like the Coles I think Fathead makes a very comparable model for much cheaper. As far as other instruments I've tried it on guitar cab and vocals. Guitar cab was a little hit or miss, but I liked it when it worked, and vocals definitely have a lot of body and silky top end. Hope it helps!
Thanks so much for taking the time to answer my questions thoroughly and thoughtfully! Ive been thinking on it a long while and my search for a ribbon pair has come down to 3 mics! Coles 4038's , AEA R84's, and AEA N8's. The thing is, I figured the best way to decide would be to try them in real life, so I talked to my local Long and Mcquade (Sweetwater of Canada) and they are arranging for me to rent the AEA R84's and N8's so I can do my own tests, but apparently they cant track down any Cole's to try, which sort of seems abit wierd to me that they can't. I'm still waiting on the AEA's to come in so Im going to try talk to them again about the Cole's! The thing is , Im fairly confident the Cole's would be great as they're already very tried and true on what I want them for, I just wanted to compare them on my own recordings for a couple reasons! The other reason Im interested in the N8's(more than the R84's) is that they still have a big farfield sound, but can handle more SPL's being active, work better with more preamps, and have a handy sterio bar for blumlein recording which are all workflow helpers so I dunno, lol, I just really wish I could try the Cole's! At the end of the day though, spending this much money, I feel like I will just get the Coles because that's what I've always wanted and I can always get another ribbon or 5 down the road , but I feel like the Cole's are tried and true on more things over a long long time!
Hey man, i see you didnt buy the adapter with the shockmount. They’re double the price so i can see why, any regrets? Ever feel like they’re picking up too many vibrations? Looking to buy one of these, but i also feel worried about breaking, is phantom power a problem?
Yeah, I actually made my own janky shock mounts and just ended up not using them because the adapter I've got is fine. No vibration issues that I've experienced, but I'm using them most often as room mics, so that's maybe less of an issue than if you were using them frequently as vocal mics. Phantom power could be a problem, but so far I haven't tripped up (fingers crossed). One actually fell straight onto the floor the other day and was fine, but obviously YMMV. I will say that they're kind of a pain to own and be worried about, but they truly have a sound unlike any other mic out there. Thanks for watching!
@@ColeParamore cool, ive ordered the cheaper one! 2 week wait for my 1 4038 but am excited! Wanted 2 but out of my price range atm. Will be doing some mono drum recordings 😄 thanks!
Just the few things I mention in the video, the relative fragility/possibility of having to replace ribbons over time, few and expensive mounting options, and the mounts not being that great to begin with.
So Im confused. The first adapter you show(that comes with the mic) doesnt fit in any mic stands, so you had to buy an aftermarket one(the second one the you attached, the one with the cable hanging off) ??
The adapter is comes with simply converts to XLR, it doesn't have any mounting capabilities. You then have to either get a mount (there are a few different varieties), and in my case I got one that both converts to XLR and adds the mount.
listening very close, I hear absolutely no difference, and if a drummers ear cannot pick up a clear distinction, then the average joe music listener will not notice either. IMO
Interesting take! I would recommend listening on monitors or headphones if you're not already. If you are and don't hear a difference - then definitely save the cash and go with what works for you!
Awesome video, the difference is quite easy to hear on my Samsung Galaxy S7 internal speaker. I can only imagine how drastic the difference is on headphones or monitors
There is a clear difference. Even just in my iPhone. The 414s are brighter but harsh too.. the coles are warm and Beefy. I’m looking to purchase a set for my studio.
my favorite overhead mic.. just beautiful!
I love the track used in background of this demo ...sounds really cool ^^
"So Much For Love" by Gramatik
Great video, very well produced. Can't wait to grab a pair.
Jesus, this thing slays in the room. So full and natural. 414 sounds shrill and pinched in comparison.
Everything was tough to swallow until I heard the mic.
Holycrap it brought the right parts forward for a roommic/overhead and left he brittle parts of the cymbals a bit down.
Everytime I heard someone mention how well they took eq I always underestimated that statement. I now see ribbon mics especially the coles as the equivalent of shooting RAW video which is how they film movies. If you look at the RAW image it looks flat and almost black and white but the flexibility you have in post is far more than if you used the camera's baked in colors. Thats how I see ribbon mics. They give you a flat image and you use eq (Pultec recommended) to shape it how you want and the end result is often better than using a mic that sort of bakes the eq into the mic and falls apart in comparison when pushed around with eq.
Can you do a test of the Cole's through the Capi's? Possibly the C414's too>?
Really here the darkness in the 4038's in comparison to the 414's! could do a lot with that sound with EQ etc. Lovely playing mate!
Thanks! Yep they do seem to take EQ really well.
good review... thxx
could you do a spoken word with the 4038... like just talk into for about a minute? i'm wondering what spoken voice sounds like flat and also with treble boost.
I have a question! Ive really been considering a pair of ribbon mics and I have a couple questions maybe you could help me answer! Have you found that these are very sensitive in the sense that they easily can overload a preamp if they are to close to a source? I ask because I watched a ribbon mic shootout in which he placed the ribbon mics a couple feet in front of a kick drum, but the Coles was about 6-8 feet further back than all the other mics because they said that was the closest they could get it without overloading the preamp! That makes me worry that if I get these there will be situations that I can't even use them. Have you found this on any sources yet? Also have you used them as anything other than OH or room? I guess my only other question would be, through your research have you come to learn that Coles 4038's are much easier to damage/break than most all other ribbon mics, or did Coles just mean that they could be easily damaged in the sense that most ribbons could be damaged? Any info you could share would help. The main Ribbons Im considering so far are the Coles 4038's, AEA R84's, Royer R-10's.
Hey man, great questions. As far as overloading the mics, I wouldn't worry - most people have more of a problem getting enough gain and sometimes use Cloudlifters or the like. The only reason I wouldn't get them too close to a source would be for overloading the ribbon itself, which gets to your next question. In my research it doesn't seem that they're particularly more fragile than other ribbons, and indeed the housing is incredibly solid. That said, the Royer 121s (and possibly the R10s?) I know are a lot more bulletproof. So if I was looking for a sturdy workhorse I'd go with those. If you want a cheaper short ribbon like the Coles I think Fathead makes a very comparable model for much cheaper. As far as other instruments I've tried it on guitar cab and vocals. Guitar cab was a little hit or miss, but I liked it when it worked, and vocals definitely have a lot of body and silky top end.
Hope it helps!
Thanks so much for taking the time to answer my questions thoroughly and thoughtfully! Ive been thinking on it a long while and my search for a ribbon pair has come down to 3 mics! Coles 4038's , AEA R84's, and AEA N8's. The thing is, I figured the best way to decide would be to try them in real life, so I talked to my local Long and Mcquade (Sweetwater of Canada) and they are arranging for me to rent the AEA R84's and N8's so I can do my own tests, but apparently they cant track down any Cole's to try, which sort of seems abit wierd to me that they can't. I'm still waiting on the AEA's to come in so Im going to try talk to them again about the Cole's! The thing is , Im fairly confident the Cole's would be great as they're already very tried and true on what I want them for, I just wanted to compare them on my own recordings for a couple reasons! The other reason Im interested in the N8's(more than the R84's) is that they still have a big farfield sound, but can handle more SPL's being active, work better with more preamps, and have a handy sterio bar for blumlein recording which are all workflow helpers so I dunno, lol, I just really wish I could try the Cole's! At the end of the day though, spending this much money, I feel like I will just get the Coles because that's what I've always wanted and I can always get another ribbon or 5 down the road , but I feel like the Cole's are tried and true on more things over a long long time!
Hey man, i see you didnt buy the adapter with the shockmount. They’re double the price so i can see why, any regrets? Ever feel like they’re picking up too many vibrations? Looking to buy one of these, but i also feel worried about breaking, is phantom power a problem?
Yeah, I actually made my own janky shock mounts and just ended up not using them because the adapter I've got is fine. No vibration issues that I've experienced, but I'm using them most often as room mics, so that's maybe less of an issue than if you were using them frequently as vocal mics. Phantom power could be a problem, but so far I haven't tripped up (fingers crossed). One actually fell straight onto the floor the other day and was fine, but obviously YMMV. I will say that they're kind of a pain to own and be worried about, but they truly have a sound unlike any other mic out there. Thanks for watching!
@@ColeParamore cool, ive ordered the cheaper one! 2 week wait for my 1 4038 but am excited! Wanted 2 but out of my price range atm. Will be doing some mono drum recordings 😄 thanks!
GA pre air button same on both? on or off on both?
They definitely would have been the same - probably no air on both.
quite dark in that larger room
What is "the hassle of owning these mics"?
Just the few things I mention in the video, the relative fragility/possibility of having to replace ribbons over time, few and expensive mounting options, and the mounts not being that great to begin with.
I would go with the 4038 on room and 414 as an overhead. That coles just sounds so perfect as a room mic.
I think it’s probably been done before. I’ve heard that the 414 has been used as overheads on many recordings
So Im confused. The first adapter you show(that comes with the mic) doesnt fit in any mic stands, so you had to buy an aftermarket one(the second one the you attached, the one with the cable hanging off) ??
The adapter is comes with simply converts to XLR, it doesn't have any mounting capabilities. You then have to either get a mount (there are a few different varieties), and in my case I got one that both converts to XLR and adds the mount.
Coles are just much more "polite" than 414's!
The Coles completely destroys the AKG.
jesus - really NOT the kind of room i'd like to record drums - or anything in really
antigen4 check out a couple other videos of mine - you might be surprised by the results!
listening very close, I hear absolutely no difference, and if a drummers ear cannot pick up a clear
distinction, then the average joe music listener will not notice either. IMO
Interesting take! I would recommend listening on monitors or headphones if you're not already. If you are and don't hear a difference - then definitely save the cash and go with what works for you!
Awesome video, the difference is quite easy to hear on my Samsung Galaxy S7 internal speaker. I can only imagine how drastic the difference is on headphones or monitors
There is a clear difference. Even just in my iPhone.
The 414s are brighter but harsh too.. the coles are warm and Beefy. I’m looking to purchase a set for my studio.
Stick to drums :P
If you don't hear a difference then you're lucky because you can buy any 1$ mic and be very happy with it :-). Seriously, the difference is MASSIVE.