Are you looking to buy a mic? Or use one you already have?
What mics do you have?

I've gotten good results with a 58 meant for talkback, in a couple of random places.
Same goes for a carefully placed & tuned (pattern/HPF) 414.
Neither is better, unless it's right for the song

soapfloats, post: 387709 wrote: Are you looking to buy a mic? Or use one you already have?
What mics do you have?

I've gotten good results with a 58 meant for talkback, in a couple of random places.
Same goes for a carefully placed & tuned (pattern/HPF) 414.
Neither is better, unless it's right for the song

I have lots of mics, just wondering what everyone else uses for that task

I usually don't do this for drums, but when I use a room mic I like to go with a ribbon. I have an AEA R84 that is usually best for this (if it's not being used elsewhere.)

Amen to the ribbon-for-the-room thang, Bob. I used my 130/160 Beyer set for drums' room mics many times.
This is such a subjective decision on the part of the recordist. The room , the kit, the other mics, they all will play a part in what you use.
Many, many years ago my "room mic rig" was a gold -plated E-V 666 (honest) with a Shure LeveLoc mic pre/compressor. That Shure box could crush the biggest kit into submission, I sure miss it now that "lo-fi" is hip again.....

One of the nice things about utilizing ribbon microphones is that usually, it won't be too splashy sounding. It will sound more real. Nothing sounds hyped on a ribbon microphone. So like Bob and others, I love to utilize my RCA 77 DX's and/or Beyer M130/160's even my SHURE model 300 ribbon but I only have one of those.

I like them in my hair also.
Mx. Remy Ann David

You've gotten three suggestions. You also missed my point.
Certain mics have sonic signatures you may or might not like.
Ditto for room and kit.

Mic is least important - playing with positioning of the kit and mic in the room are far more important.
Like my more experienced, wiser counterparts I also often use a ribbon (albeit a cheaper one).

I've also gotten good/better room sounds with a carefully (and sometimes randomly) placed 57 or 414.
Whatever I have extra. Often, like Bob, I didn't intend to record a room mic.
But sometimes musician #3's talkback (almost always a 58) captured a sound like you describe - textured, glue, gooshy.

So, don't buy a new mic (not that you were going to). If you have a ribbon mic, try that. If not, try anything.
Most importantly, try things. Experiment. Happy accidents are the greatest moments in recording...

I think soapfloats came clean on his descriptions what to do. That's why it's fun being an audio engineer. Nobody gets killed because when things don't work right, all you do is get drunk.

I think I'll get drunk on some chocolate today? Happy Easter everybody!
Mx. Remy Ann David

Ribbon mics can sound woolly in the low end to me (admittedly in close miking) but if you're distant/room miking it should sound great for some extra push (depending on which one you use). Had a chance to audition the whole AEA series (except the 44) and they all were awesome. I'm a great fan of ribbon mics but for room miking there's nothing better than the DPA 4041 in my book. So natural sounding, clear, not splashy, and a super tight low end - not muddy. No hype!

They are the ultimate "one channel recording microphone", imo.

Cheers :)

They are hardly what I would call affordable for most. You can get a Fat Head for under $200. DPA's are only for those dedicated serious professionals that can afford it.

Mx. remy Ann David

soapfloats, post: 387858 wrote: You've gotten three suggestions. You also missed my point.
Certain mics have sonic signatures you may or might not like.
Ditto for room and kit.

Mic is least important - playing with positioning of the kit and mic in the room are far more important.
Like my more experienced, wiser counterparts I also often use a ribbon (albeit a cheaper one).

I've also gotten good/better room sounds with a carefully (and sometimes randomly) placed 57 or 414.
Whatever I have extra. Often, like Bob, I didn't intend to record a room mic.
But sometimes musician #3's talkback (almost always a 58) captured a sound like you describe - textured, glue, gooshy.

So, don't buy a new mic (not that you were going to). If you have a ribbon mic, try that. If not, try anything.
Most importantly, try things. Experiment. Happy accidents are the greatest moments in recording...

I understand your point, and have taken it into careful consideration before.
Sometimes I forget that experimenting is the most important key.
Thank you everyone for your feedback

Also, I know I don't need to use a ribbon mic for this task but I also don't own a single ribbon mic.
What should I go with in the Royer 121 price category, or cheaper would be great?
I've been looking at the Shure KSM313

I really enjoyed hearing those Royer more highly affordable passive ribbons. The SHURE/Crowley & Tripps, Ribbons I believe are both active ribbons and while they sounded good, I find them to be more condenser like sounding like the active Royer's and significantly higher in cost. Plus they have that tailored different front to back response which is not exactly what I want from a figure of 8 microphone as I am a huge proponent of MS stereo microphone usage. For that, you need an overall identical front to back response of a figure of 8 microphone. Both manufacturers are making ribbons out of different materials and with different techniques to make them far more rugged and less fragile than earlier classic designs.

Great to see everybody's interest in ribbon microphones.
Mx. Remy Ann David

I usually just use something leftover for a room mic.. something omni maybe or Bi with the dead side pointed at kit if the room isn't very live. The pattern selection and positioning are usually what I change if I don't like what I'm getting. Never really done a room mic shootout, but I'll have to try that soon.