SE R1 Ribbon Test

19 05 2011

The SE R1s have been around for a little while. They came out at a similar time to the Sontronics Sigmas and together they present a more affordable option to studios wanting the ribbon sound in their armoury.  The Sigmas are pretty good, I used them on several projects a year or more ago. But now my current studio, Silver Street Studios have invested in the SE R1s so I thought I’d give them a quick test run for the blog.

SE make two Ribbon microphones, the R1 (now VR1) and the RNR1, The RNR1 is designed by Rupert Neve, costs around £1000 and represented SE’s ambition to move on from budget microphone manufacturer to a serious player in the field.  It’s been some time since that move was made and I’m beginning to feel more and more like it was a great success.   The hope is that the SE have taken what they learn’t in manufacturing the RNR1s and used it in the cheaper R1s.  Still not too cheap, the original RRP for one was about £500. But now thanks to SE’s new VR1, the R1 can be picked up at a fantastic price.

First Impressions
The R1 is presented in a rock-steady flight case with reinforced corners and metal hinges and catches. It’s so easy for microphone companies to overlook the importance of a good box (yes, I’m looking at you EV and your RE20)!  The SE box here would protect the microphone through the nuclear apocalypse as well as stacking well in storage and providing strong handles for carrying. Little things, I know, but, for me at least, it all adds up!

The cradle is also superbly crafted. It’s a snug fit and the mic locks in using a bolt around it’s XLR jack that when screwed up appears to be part of the design seamlessly.   The elastic is quite ridged and hooked in well. The moveable joints are also firm. This all means that the cradle is very strong and keeps the mic where you want it without flopping.

Sound Test

Test 1 is a recording of a pair of Rode NT5s, set up as a coincident X-Y pair directly above the kit. The NT5s are a good example of standard small diaphragm condensers. They are cardioid and produce a tight, close overhead recording.  They work well as a control for our experiments.

The R1s where placed as a Blumlein pair as close as possible to the NT5s.

Test 2 is the raw mic capture. You can immediately here the classic ribbon roll off above 5-10kHz.  There is a strong prominence of snare and the kick drum is clearer than that of the NT5s.  The R1s sound warm, analogue and they have more ambiance.  The live room at Silver Street Studios has hard wood and stone flooring and creates a lively space that can clearly be heard throught the R1s.

Next I added a high shelf EQ of 5dB above 8k (Test 3) using a Waves Renaissance EQ.  I did this to bring back some of the highs lost by using the Ribbons.  You’ll notice that rather than creating a more typical condenser sound when you boost the highs on these ribbon microphones there is a space and liveliness that brings back the shimmer to the cymbals and keeps weight in the drums. The drums seem well balanced in this recording and I would say that with a bit of compression we’d almost have a complete drum sound from our overheads.  So that’s what I did in Test 4. Be warned the average level is higher on this clip so you might wish to adjust your master volume.

We also tested the R1s on an electric guitar and vocals. On guitar the roll off softened an aggressive tone and worked well on less gainy amp settings.  It sounded very affected close mic’d and more realistic but ambient at a distance.

On vocals the Ribbons were lovely! Especially once a high shelf was applied. The recording was smooth, warm and analogue sounding.  Potentially harsh peaks seemed to be rounded over and the mic coped well with dynamic changes.

I am so pleased to have these in our armoury at Silver Street. They are fantastic. I don’t think I’ll rush to them for electric guitar, but they will be sure favourites for an awful lot! They’ll obviously suit certain genres better than others. They should work well on vocals in nearly any mix and for a natural sounding recording with acoustic space and warmth these will be my new number ones.

By Graeme Rawson, with help during testing from Chris Morrow.

Music consumption in the context of entertainment media

3 05 2011

Image from tumblr blog: "Salad Fork"

A great deal of speculation still surrounds the Internet in terms of its potential impact on more traditional media such as television and radio as well as music.  Now that the streaming of audio and video has become more and more viable for consumers through the introduction of broadband Internet access, the issue becomes far more important.  While some experts said that streaming would never be a significant factor, others said that it may completely alter the media landscape as it exists.  To some extent this is true, however I believe a parallel movement is taking place.

While some aspects of the traditional music industry’s position within the media industry have changed completely, other aspects have merely been reformed, and many others have remained untouched.  In other words, the consumers’ need for traditional media will has and will remain strong for many years to come.  Now the problems of bandwidth, lack of awareness and difficulty loading media players is solved, consumer usage has accelerated exponentially.  This revolution in usage has not and will not take over in the medium and long term.  The evolution of music on the Internet has occured alongside – rather than instead of – the more established mediums of music propagation.

The first indication that traditional media will not be displaced totally is based on historical evidence.  Communications technologies tend to have repeated patterns.  New media technology does not replace its predecessor because it cannot reproduce the exact experience or benefit.  The photograph did not replace the drawing, radio did not replace the newspaper and television did not replace radio.  New technology will not replace its predecessor because it cannot reproduce the exact experience or benefit.  The music cassette did not replace the vinyl LP, and neither did the CD; the minidisk did not replace the CD, and it is most likely that flash memory or cloud based streaming will not replace any of these physical formats.  Another important factor that goes in favour of the traditional music formats is consumer behaviour.  The changes occurring within the music environment are not merely technological, people use new technology only if it answers real desires and needs.  Not all people have the same needs.

Some consumers may embrace the opportunity to control their media experience, such as selecting only the music that they wish to listen to, watching only pre-selected programming structured around their own timetable.  Consumers creating their own experiences can be described as not following the traditional methods of consuming music and other forms of entertainment.  However, as the availability of music over the Internet has grown, it has become increasingly evident that this new form of consumption does not suit everyone, and has definitely not been for everyone all the time.  Many consumers have and will probably continue to prefer the more comfortable and uncomplicated ways of passive consumption of audio entertainment.  For this reason, there will always be opportunities to provide passively consumed music that even the most demanding consumers will use.  The crucial part is to understand the context of the consumer and the role of audio entertainment music in the lives of consumers.

It is also very probable that the lines between traditional and interactive music on the Internet will continue to grow more nebulous.  The distribution of music to consumers has traditionally relied on mediums of delivery, broadcasting via radio and the direct purchase of recordings.  As technology has advanced, however, these delivery mediums have moved toward a central point between them.  For example, the broadcasting method of delivery over the Internet began with the introduction of audio streaming, made popular by RealAudio.  Now, the evolution of highly specialised music formats and the ability of many services to allow listeners to skip songs, create playlists and share music with others, streaming has incorporated elements of purchasing or extracting what is wanted.  The spread of technology which can aided purchasing or extracting what is wanted was pushed forward by the development of MP3.  This represented the extreme end of user control, as music selection was entirely determined by the consumer’s decision regarding which music to convert from their CDs to MP3 format.

Of course, the use of MP3s exploded with the introduction of peer-to-peer software, most influentially, Napster.  As with streaming, this software eventually moved MP3 technology closer to the centre of the two types of delivery medium, as users searching for music on Napster they were often exposed to similar songs, different mixes of a song, or other songs by a requested artist.  Yet, even with this trend toward a middle ground though iTunes, LastFM, etc., total convergence is unlikely to happen.  Consumers will continue to desire each method for different reasons, and there will be situations where both mediums of delivery will be wanted.

All of these point to the conclusion that traditional media will not disappear.  Rather, all content providers, regardless of the medium, are now beginning to grab the huge opportunity of developing an ideal combination of services that offer both broadcast and content delivery online in a way that covers a broader range of consumer needs and expectations.

by Nino Auricchio