Why are these so cheap?

[@jeaxethoon2017]

Finally a live version of Sandstorm

[@samkenny3075]

Nice

[@40blockstudios60]

Da da Da da dut. ....

[@BarryH54]

It is important to remember and use this info: BOTH ribbon and moving coil mics are dynamic mics. Moving coil is not the only type.

[@henrikpetersson3463]

@@BarryH54 Technically yes, but thats not how we use the terms.

[@jamesthepanther]

That’s like telling people a tomato is a fruit.

[@ProAudioIQ]

Actually @henrikpetersson3463, we do use the term dynamic to describe ribbon mics because that's what they actually are, because they use a diaphragm that moves within a magnetic field (electromagnetic induction). There's definitely nothing wrong with referring to them by their actual name. But, to your point @henrikpetersson3463, for easy, casual reference, nicknames are common and I do call my ribbon mics, ribbons, and my moving coil mics, dynamics. But it's fantastic @BarryH54 is helping teach those who are being introduced to ribbon mic to understand that ribbons are actually dynamics - because again, they are. It's like the word amplitude. As a sound engineer, speaking to sound engineers, I use the word amplitude, it's because it's actually describing amplitude - instead of saying 'volume' which is a consumer word and is completely a misnomer because volume refers to the amount of space an object occupies. Unless I'm speaking to a non audio, music person, then I use the word amplitude and volume so I can help them learn and grow like what @BarryH54 is doing. I also casually refer to my electret condenser mics as "condensers" - which although "technically" correct because they are a type of condenser, I know that reference is probably offensive to my true condenser mics - because electrets use a permanently charged backplate vs externally charged polarity. As a result, electrets are less capable with dynamic range, high frequencies and transient response, have higher self noise and overall lower sensitivity. It's always better to help inform and instruct than to not.

[@JacksonTaylorandTheSinners]

I used that Warm 44 on all my vocals for my new record. Loved it!

[@mind-brainstudio927]

Cool! I really wanted to hear vocals and spoken word on the Warm 44!

[@TheChipMcDonald]

They sound great, any difference is within the error threshold of positioning.

[@Bloor005]

On my cabinet the WA19s have more flexibility. I've had issues with 57s getting muffled or too shrieky in certain positions. The 19s sound more like an SDC in my tests.

[@Projacked1]

Crocodile Dundee: 'That's not a mic, THIS is a mic!....'

[@PhiberOptik1979]

bwhahaha. i just saw that in my head and i LOL'd way too hard. lol

[@hughharsher]

"Moic"

[@Projacked1]

@@hughharsher

[@stephensimpson2359]

Nailed it!

[@wedreamofeden]

Great video! What was that bass guitar he used by the way?

[@stupendousmusic4190]

Good test, but if you included the AEA R44C you would have the complete comparison, and you wouldn't have to consider any issues regarding aging.

[@robertjason6885]

AEA IMO makes excellent Ribbon gear. No cheap, but beautifully made, excellent sound.

[@mudhoney110283]

Years ago I managed to find a D19 for a good price on eBay. When I tried it it had no bass frequencies. The seller was honest, I sent it back and he refunded me the amount. I went looking around the web and apparently, in 2024, it is very difficult to find one without problems and restoring an old one is difficult and expensive, the technicians advise against it. So good job Warm Audio! I think I will get one soon.

[@murraywebster1228]

Buy a D190, it’s the follow up and does the job the same but not so „sensitive“ to handle

[@johnbogle6475]

As a live sound monitor engineer, I had the pleasure of working with more than a dozen vintage mics (At one show! :). A mix of DX77s, DX44s, a Neumann U47, a vintage Neumann U67 (or maybe a U69) and others. These were a rental from Wally Heider Studios in L.A. for multi-tracking a Jazz big band concert. Supposedly the ribbon mics had all new ribbons. What I noticed was that these mics all sounded quite a bit different from each other. I'm sure this was due to their age. That said, the quest for that "vintage" sound will always be a one off. You MAY find an incredible sounding mic or you may not. It's doubtful you will find any two that sound the same (let alone closely matched specs). Ribbon mics have a wonderfully fast transient response due to the light weight ribbon. That thin ribbon also means they don't have a very hot output. This requires a very quiet mic pre (Ideally one with a variable input impedance as they are also quite load sensitive). I also love that little bit of warm tube compression you get from Tube Condenser mics. Sadly I'm a micaholic who loves Champaign but only has a beer budget :). Great video. Thanks

[@WilliamJohnston]

At 1:48, it’s labelled as the vintage mic for the second time in a row, but to me it sounds like it went back to the WA mic, particularly in the reduced hiss?

[@theclaverman]

This is probably why many vintage microphones sound smoother than new ones: The capsules of all mics are static-electric, which in practice means; if you don`t cover up your mic after use, the capsule will literally be a dust magnet. The effect of this is not imidiately noticeable, but remember that the membrane of the capsules are extremely thin and light as feather and after 40years of use, the dust will actually put extra weight on the membrane. A heavier membrane will directly affect the mics ability to pickup high frequencies. Many vintage mics sounds smoother simply because the top end has been rollen off during years of use in studios with dust and cigarette smoke…

[@xrabbz2010]

Interesging. Is this the same for tube mics?

[@theclaverman]

@@xrabbz2010 absolutely

[@alkaiosmusic]

I've just read this a few days ago in "The recording's engineer handbook", by Bobby Owsinski. I would never f*ck1ng start a recording session without cleaning the studio room before. And of course, my mics will be stored after the sessions, too.

[@xrabbz2010]

@theclaverman man... I really really start switching my mic off when I leave the studio... it's only been switched on constantly for the last 3 years 😂 thanks for the info 🙏

[@theclaverman]

@@alkaiosmusic always a good practice👍

[@olivermaier-landshut3047]

Those Warm Audio Mics sound amazing!

[@berkeleybernie]

On the guitar, what's creating the stereo image? Double-tracking?

[@JornLavoll]

I was wondering the same thing :D

[@Whiteseastudio]

It was double tracked indeed

[@polyphonicgroove]

I have to say....I think the Warm Audio mics sound better to me, than the vintage. I own all of those Warm Audio mics and I love them. I don't have any of the vintage to compare them to until now. Great video, very helpful. Thanks for making me feel better about my Warm Audio purchases. 🙂

[@robshrock-shirakbari1862]

Warm not bad; Vintage for the win.

[@balisaani]

The Warm Audio is brighter on guitar, the RCA is darker but smoother. The WA is honkier in the mids of the bass cab, the RCA is perfect in capturing a balanced sound where articulation is heard without being too frontal. The WA is a pass for me.

[@isaacnewtech]

The modern mics sound nice, no doubt. Balanced and transparent and still characteristic, but I certainly like the sound of the vintage ones too. Bit warmer and fuzzier, very nice in certain situations

[@rogercabo5545]

Great comparison! I definitely prefer the Warm Audio Mic. On my big Genelecs Warm mic is absolutely amazing!! Thanks a lot..

[@davidder5178]

omg, the vintage one sounds amazing, warmer and the transients are awesome! The warm audio sounds like a warm audio mic

[@CreativeMindsAudio]

The large warm audio is nothing like the RCA, but it doesn't sound bad by any means. I will also say that warm have come a long way from their early years in replications. In the acoustic guitar demo: the RCA is way more transient (which continues to be an issue for warm audio) and has a bit more bite on the top end. bass: even more pronounced these differences. the pick attack on the warm feels like it was tucked in the back and the low end shines a bit more, but the RCA feels balanced and that pick attack comes through with the low end still being there. with the other mics (which i've never heard or used before) i can really tell the difference with the transients on the attack it's night and day the telefunken is super punchy. this is the reason why people pay the big bucks for these kinds of mics too. having good transient capture is what makes mixing so much easier. you'll need so much less processing and effort in it. I also agree with you on the width thing, but honestly i didn't like that felt like there was less glue too. That being said great ribbon mics for the price. especially the small ones. Still i hate that their marketing is targeting people who are looking for a cheaper alternative to the vintage stuff when it doesn't sound like that. i wish they went the lewitt route and just made mics and call it their own thing vs mimicing the appearance and naming scheme of the vintage stuff.

[@WDShorty]

Unfortunately the acoustic guitar test has them so far apart and aimed at very different sounding parts of the instrument

[@FransJCMartins]

Agreed. Would have loved to see a take with them just swopped around and then compared with the same positions.

[@akagerhard]

Agreed. In order to accurately compare two mics for the same job a lot more work is needed. And that kind of work is rather unreasonable. We're talking 999 $ here though and nobody should spend that kind of money based on a YT Video. This is just a little first impression, if one considers buying it, they should order it, test it and send it back if it's not as good as they imagined.

[@quanah]

Ok, you got me. Picking up the wa44 next week 😏

[@hyltonmowday]

Hmm,...they're Mono mic's yes? Why when I listen to the Guitar sections at 1:24 with headphones do they sound stereo? There must be some processings being done?

[@Whiteseastudio]

We did double tracking

[@hyltonmowday]

@@Whiteseastudio Yea figured,...was hoping to "hear" the mics solo (Just one mic) just to compare. Nevermind,...sounds good!

[@HardRocker47]

And no comment about the vintage mic being noisy like hell. The hiss is clearly audible.

[@MariJu1ce]

Reeally good drum sound!!!

[@djpeaceofsheet9032]

The fact is most passive ribbon mics are over-priced when you know what’s inside. You need to be careful assembling it, but there’s only three components : the ribbon itself, a magnet and a transformer. Samar for the same price as the warm audio has the VL37 that has a near-flat frequency response while retaining that « smoothness ». And oh boy that proximity effect is nice.

[@henrikpetersson3463]

There’s a lot more that goes into the price of a product other than the components. And as with everything these days there are super cheap alternatives from china.

[@pop_polizei]

@@henrikpetersson3463 I might be wrong, but aren’t Warm Audio mics also made in China?

[@henrikpetersson3463]

@@pop_polizei No, you are correct as far as I know. Just because it comes for china doesn’t mean that it’s cheaply made or cheaply priced. I meant that there are budget ribbon mics coming from china. Thomanns own T.Bone brand is a good example.

[@RArecordingsRickValcon]

@@henrikpetersson3463 I've been using 2 T-bone Ribbons as room mics for years. they are excellent.

[@SlasherMatt]

Daviah is such a good drummer, bravo!

[@Harrysound]

All the recordings sound great.

[@DaftyBoi412]

The new gear has a much more defined high-mid and high end ... which is expected when comparing to older gear .. the low end is slightly better on the vintage stuff, especially on bass, but it's not a HUGE difference. The addition of the top end is the biggest and most impactful change in most scenarios imho, and I for sure would pick the new stuff in at least 2 or 3 of the spots you had them!

[@Temperjames]

A situation where we really have to remember that tiny, tiny changes in EQ post processing would make these mics sound IDENTICAL. In every, single, way, that, matters. There's no reason for snobbiness, or holding onto the past.... the sound you want, is the sound you'd get... even if it just means twiddling one EQ knob slightly further in one direction Nice

[@EricOehler01]

Ribbon mics had a hot minute about a decade ago. There were a few companies rebadging, hotrodding, and rewiring Alctrons and Apexes and selling them cheap. Cascade had a whole line, Groove Tubes had a pair designed by the late Aston Pittman, etc. Usually they added cinemags or lundahls and beefed them up significantly. Most of these companies have since faded away but there are a lot of these mics left on the secondhand market. And Royer and AEA now made some cheaper products.

[@gavmurray7398]

SE have some cool new ones, Rhode do an active ribbon still in production. beyer, royer and coles still churning the classics.. OPR still delivering best bang for buck, some random russian dudes on eBay still making stuff.. 🤷‍♂

[@leopoldbluesky]

Don't forget NoHype Audio - that guy really delivers quality ribbon mics at an incredible price.

[@EricOehler01]

@@leopoldbluesky Oh yes! And there was ShinyBox that made some fantastic ones too. I think he's still around.

[@georgesimpson1406]

@@gavmurray7398 The SE ones are absolutely great, even the lowest price one. They have a modernised tendency to sound like a large diaphragm condenser but that is probably an LDC that is 6x times the price (for the X1r) and can be a good way to get the 'mixed voicing' with that kind of EQ curve with other ribbon properties..

[@Poccu9IHuH]

Royer are great ribbon mics.

[@marcelosuarez3027]

Seems like the vintage RCA is actually a little brighter than the WA on bass?

[@balisaani]

Not exactly: the WA overemphasizes the lower mids and the mud (or honk) obscures the articulation.

[@svenisaksson3970]

Where are the links for the audio files, you mention should be in the description? By the way, I've got a WA-44 that I'm very pleased with.

[@JonathanGalle]

Very cool comparison! those WA-19N's will definitely be added to my wishlist... those telefunkens sound like they have an issue.... the polarity almost feels flipped, I wouldn't be shocked if one of them is damaged...

[@witzendoz]

I once owned the exact Acoustic Bass head as the one you used, bought it in the 1970’s and used it tell the late 80’s, lovely amp.

[@in.der.welt.sein.]

They're super nice amps. Better built than Sunn and better sounding. I never understood why they didn't skyrocket in price. They have some pretty nice guitar amps too.

[@witzendoz]

@@in.der.welt.sein. I sold it when I bought a GK 800RB, which I also love, but I wish I had just kept the acoustic as well.

[@Souldoubtrocks]

Warm audio is a higher end class of behringer products. And I’m ok with that. Bringing musicians and producers good gear at an affordable price. I’d never be able to afford a ribbon mic. Btw their clones of the Roland jet phaser, klon and Zen drive pedals are really great.

[@evoltap]

I disagree. Warm presents themselves as higher end than Behringer, but under the hood I’d argue their quality control is actually worse. Behringer has come a long way, and actually owns their whole manufacturing chain, whereas everybody else is contracting out the manufacturing in China. Where warm probably wins is that they are a relatively small company and provide good support.

[@pyratellamarecordingstudio1062]

I don’t know if I’d say that. I think their mics are better than their hardware gear. And most of their mics are pretty good. Behringers new line of vintage style gear is very good, in fact better than warm lol. Behringers general pro audio gear is pretty crappy .but there’s tons of companies making gear in this price range that are very good, like black lion audio, diyre, hrk, Lindell , and I could go on and on.

[@nikbeat888]

They sound great for the price, and I really wanted them to sound better than the Vintage but every clip I prefer the Vintage. I would probably get a Coles 4038 to achieve that smooth Vintage Ribbon Sound for the same price.

[@tcellen2136]

Agreed. Everyone must have a ribbon ;-) . If you have 3 mics make one a ribbon. If you want to record percussion too, they are the ONLY way to get a sound your ears expect. For example cowbells and any percussion with tone where you want less attack and more of the honk and body of the sound. It's like they compress the sound like our ears and brain does. I've got Royers, Reslos and the cheap T-Bones and the cheaper the better I reckon because then you're not scared to use them. Combined with pencil condensers (Gefells please) the range of colours you can get is monumental. They take EQ beautifully so you can add top end to help them shine more because they are dark. A quality preamp makes a big improvement too, you will really notice the difference between pres as far as noise levels and transient ability.

[@sub-jec-tiv]

I actually prefer the slightly more ‘modern’ sound of the WA mics.

[@Wilmer778]

I've been using an AKG C414 B-ULS for recording about anything in my little home studio, including vocals. For electric guitars, I always used my vintage Shure Unidyne III (I think it's called?), KILLER mic that one!! Anyway, I never rally trusted WA mics because I read some negative reviews about their original WA-87, but a couple of months ago, I heard some samples of someone singing through a WA-47 mic and I LOVED the end result, so I thought: "F it... I'm gonna get one", so I did and coincidentally, it's the PERFECT mic for my voice!! :O I'm really in love with it! I was considering getting the Stam Audio SA-800G at first, but I never really liked how bright that thing actually is, especially on the "s" sounds; etc. After I go the WA-47, I put a "?" behind the SA-800-G on my "to get" list, because I don't think I really need such a mic anymore. My trusty old AKG C-414's now my acoustic guitar mic. I don't know why but it sounds perfect for recording acoustic guitars (also bright percussion instruments; etc). I dó use the AKG for my vocals as well, but usually for harmonies now, especially when they're really high pitched vocal parts. They blend perfectly together (ON MY VOICE!!). The WA-47 might sound like crap on your (whoever you are who's reading this) vocals, so... watch out! Maybe the SA-800-G's perfect for your really LOW/not so bright voice. :)

[@Wilmer778]

By the way... forgot to say this: I might actually get a WA-87 (the original) in the future. Why? Because I'd like to sound different from everybody else! The main complaint about the WA-87 was that it "doesn't sound like a Neumann U-87 at all", but my question is: does it sound different, but JUST AS GREAT?! If that's the case, I'll get one. The Beatles are The Beatles, Pink Floyd are Pink Floyd; etc and why would you wanna sound like them? I am ME!! :D

[@Venxi2014]

The vintage sounds like a record, the Warm sound like a demo, IMO. Question... On the acoustic only recordings where were they in stereo and panned L/R when it's a lone mic? I thought the Warm ribbon was passable here, but the vintage one has so much more warmth, tone and punch.

[@leebuck8532]

Warm can be hit and miss, but every company is like that. It's cool that you can go to youtube and hear it before purchase. So many negative comments and complaints. If its not for you, don't buy it. Its that simple.

[@goulinet5859]

4’55 phase issue on telefunken vintage solo stereo pair ?

[@ErickvdK]

You have to really shake the ribbon mic to bring out the best sound. And make some pop noises to loosen it up, relax it a bit...😊

[@FranFuzz]

Please make an Sphere DLX review/comparisson... I've always wondered if those worth it. :)

[@kniferideaudio]

if i shut my eyes i preferred the Warm ribbon every time.

[@martijn_nl]

I still prefer the tonal character of vintage mics quite a lot but Warm did a nice job, especially considering the price.

[@Bloor005]

It might be the youtube audio, but the transients on the bass sounded different. Not bad but the vintage responded faster.

[@PROJECT-de9pd]

Of the two Ribbon mics, the original Vintage RCA sounded clearer with more definition on the transients. The Warm Audio mic, in comparison, sounded fluffy/rounded. In fact I would say this was night-and-day difference even with KZbin in the way.

[@reeread]

44A is great for saxophone

[@DannyDep17]

Hi Wytse, First may I say that I appreciate your diligence towards keeping your reviews as objective as possible. Since the vintage original RCA 44 was a vocal choice of the likes of Sinatra and Cole, I was hoping you might have used a vocalist (female) to demo its abilities.... Was there any reason you didn't? Thx... and keep up the good work. 😊🙏

[@CedricPytelRagtimeStudioUk]

This is really great and valuable to do a direct comparaison with the original. Cool video. Would be great to see more like this if you can.I also like when you do reviews of hardware gear. I think you said you don't want to do too many cause your views are dropping when you do but at least I find them very interesting...Keep pushing

[@justinreynolds3935]

Vintage is more warm. New is more hyped. Although vintage has noticeably more noise

[@Soso-km8er]

Fantastatic recording of great music with a remarkable difference in favor of vintage to my ears. I’d stick with a vintage Sennheiser 441 instead of the Warms (still amazing what this company does!).

[@CarlDexter]

Don't agree with this assessment. I also have both the WA-19 mic and a couple of vintage DC-19 microphones (one Telefunken, one AKG). The bottom line for me is that the vintage ones are more responsive. The modern version less noisy, but the tradeoff doesn't work for me. I was really sad about this; having a modern version of the DC-19 was something I was excited about. I heard the same thing on the demo provided here regarding the RCA ribbon vs the WA ribbon, but I'm not sure I would have noticed without the experience of comparing the DC-19 mics. That said, I don't know where you're going to find a vintage version without paying too much for a mic that may or may not have been treated well enough to justify the difference.

[@npinero1]

The real RCA seems a little more open in the midrange than the Warm Audio. They both sound great.

[@frozenkingdomBM14]

Hope you got a Waves Audio Curves Equator review cooking up.

[@gavmurray7398]

the rca one the warm has a really prominant resonance around 3k even on laptop speakers its extremely obvious the vitage one is way more balanced

[@heymanhuh]

Heard that on my earbuds, which tends to exacerbate muddy lows.

[@markhaliday]

Hi, I don't get it, if you are comparing two mono mics, how comme the signal I hear is some kind of weird stereo ?

[@Whiteseastudio]

Double tracking

[@TigroGumi]

I did prefer the vibe and impact of the vintage, but that is more of a right out of a dry recording... there's a tiny bit of saturation that I like that you could add to the Warm mic's outputs... you could get the same with maybe just a little more clarity, whether that is good or not depends on the what suits the song... again, you can darken things in the signal chain or in mixing... it defiantly helped to be a lot more confident in these as possible options later

[@ProAudioIQ]

Love the idea of the video, but there are a few things to consider: And yes, this will be a longer response, but this is a technical topic in a technical industry and certain things matter and are based on physics of how sound works and how we perceive sound. And we spend years learning to harness and control it so musicians can simply sing and play and everything sounds great and they didn't have to worry about any of the technical, because that's our job. . Although comparisons between new and old are fun, when a vintage electronic device like that mic are involved it's just not possible to give even generalized category summary statements using just 1 vintage mic. This is because electronics do not age gracefully and sound changes dramatically as components age and how they pass signal changes. Sometimes for the better and sometimes not. That's why plugin emulations of the same hardware brand/model can sound so different between manufacturers. It's because that's how different the different hardware units from the 1960's-70's actually sound from each other. This can happen over years or suddenly. And the gear doesn't even have to be vintage for this to happen. But even if out of spec sounds better than new from the factory, out of spec is out of spec and excludes the item from any comparison between just itself as a single item and the other mic being used. Make sense? Also, for those who haven't heard about this yet, vintage ribbons were regularly modified internally to compensate for proximity effect/inverse square law/equal loudness contours (Fletcher Munson curves) depending on if they were going to be close to a voice for singing like crooning or solo instruments or small trios or more distant placement for ensemble recordings for radio shows, big bands, orchestras etc.. So, unfortunately vintage ribbons can't be "compared" until we know more about how they have been configured (a quick view of while and/or pink noise will reveal how it is configured - which by the way was able to be changed by the user) Some of the feeling behind ribbons being "dark" is because of weak magnets and other materials, compared to the amazing modern magnets we use today and special resonator grills that allow some ribbons now to even get into the 18kHz + range. Other times its sound engineers who don't realize their amazing vintage mic had been physically configured (with internal jumpers, custom switches or wiring different paths on the circuit board) with a bass boost so it could be used many feet away and still have a nice, full bottom end. But then people place them close to instruments or sing into them and they sound totally boomy and out of whack on the low end. In other words, before doing a "sound" comparison, we need to at least see white or pink noise running through them both so when they are placed equally in a line, we have a way to reference how both are responding to frequency at that distance. This isn't a fancy recommendation, this is just standard sound engineering. Just like a chef tasting their food before serving it. Otherwise, it's like comparing two guitars that are tuned differently. Or two guitar amps that don't have their EQ's set flat. For any type of comparison, we have to start from a point of uniform perspective and reference. Even, the placement of the ribbons on the acoustic guitar in the video (as one example) are too close to the guitar to be that far apart from each other. The comparison isn't accurate because they are individually on axis with different frequency presentations of the guitar. One would need to be upside down and directly above the other to hear approximately the same slice of what's being presented at that Left to Right area in front of the guitar.

[@J-DUB-F1]

Having watched various A/B videos comparing the Warm mics to the originals......my thoughts are the same. More often than not the difference was so slight, that I could not justify spending hundreds or thousands more on the originals. Also, when there is an appreciable difference , (as you pointed out) it's not a matter of "better or worse", just different. When comparing to original RCA's, how well were they cared for, were the ribbons replaced at any point in their life??. No two RCA's will sound exactly alike, from my experience. Bryce and the Warm team have really raised the bar for affordable recreations of the classics.

[@drum877]

The vintage RCA is a little more bright

[@MrACangusyoungDC]

I think it's more midfocused. Transients are less spiky, but there are all over more focus on clarity. The best of both words that are de-harsh but with clarity. Tyical vintage. But the voicing of the warm ones worked better for other things sometimes. But I actually guess that when it's most hard, making an acoustic guitar sound that clear yet smooth, it's hard to make it just as good on a budget.

[@drum877]

@@MrACangusyoungDC the other microphone sounded a little muffled/ cloudy. It almost felt slightly compressed and dull.

[@jerrypalmer3534]

I bought this mic right away ! I love it !!

[@itamaramati]

Vintage sounds clearer and crispier, warm audio has a lot of low mid.

[@THZORROMUSIC]

cheers, why do you use these distances on git and bass with ribbon microphones? i've never used them before and i'm wondering about the background

[@Whiteseastudio]

I’m not putting my ear that close to such instruments, so why put a microphone there? On a more serious note, the recording room of Sound Vision Studio is massive, so it allows to use more distance when recording. This also avoids the problem of placement for the biggest part, when recording closer to the mic’s we where getting a sound difference because one mic was pointed at the sound hole and the other was pointed at the frets

[@lylaznboi01]

I think both the vintage and warm audio has a lot of positive characteristics in different areas. WA sounded more mid forward on acoustic guitars, which I liked, while the vintage was a lot smoother overall. On bass, not much of a notable difference, so run with WA for cost saving purposes. With drums, the vintage had more low end punch while WA had a better stereo image. If you're on a budget, you can't go wrong with WA microphones as a whole.

[@JohnnyAllan-vj7sj]

You know what else is super cheap these days? Baby bottles. They used to cost well over $1,000. I have no idea why they're so cheap now

[@syjwg]

My friend (who has the recording studio) decided to change the drum microphones to "ribbons" about two years ago. It was a lot of "don't hit them", The only SM57 left is close to the Hi-hat. Two of the "ribbons" are now above and under the snare and the new overheads are about middleheads. The recorded sound is different (in a good way).

[@Dave-Rough-Diamond-Dunn]

Ribbon mics are like a little sheet of foil held tight by spring tensioned clamps, they can tear easily, hence the caution. I'm surprised they'd be used as close drum mics myself, seems risky.

[@bco0t6]

Hey dawg, thinking it’d be a good time for you to review the unfairchild by Mixland think you’re guaranteed to love it

[@NondoPondo]

Cascade Microphones are excellent cheap microphones. They do not model vintage per se. They simply make great microphones for lower price. I would challenge you to give them a try.

[@hireling9323]

modern quality, vintage character/vibe - good balance between two worlds

[@wkelly-hn4kb]

I hope to one day grow to the warm audio ribbon.

[@cesmcmyth]

Nice. And what’s that cheese grater for?

[@Whiteseastudio]

To grate cheese? 🤔

[@TheChipMcDonald]

It obviously makes cheese great.

[@cesmcmyth]

😅

[@cesmcmyth]

@@TheChipMcDonald 😂

[@herbie5263]

I definitely prefer the old one on the acoustic. It has really nice warm, more present sound. Feels like the guitar is in front of you. Maybe on the bass too, considering the instrument and the song type. Unfortunately it has more noise. The new mic has more modern sound, if I can say 'mix ready' like sounding, more pronounced actually. Might be better in some different use cases. It also has slightly more bottom edge than the old due to the old ribbon being stiff. The overheads, new ones win no doubt. Are these electrodynamic? That would make sense actually since the membranes deteriorate a lot with time. Ribbon mics are made of aluminum or titanium ribbon which doesn't deteriorate nearly as much. What's the song name???

[@thiloswift8035]

warm audio has more lower end harmonics that washes out the sound, the vintage one in the final mix can work better with transients on my speakers ^^

[@audiodude]

Now I know why warm audio has that name because that is what there mics and pre’s always sound like that with compare them to the originals

[@Dave-Rough-Diamond-Dunn]

At $1000 USD, cheap is a relative term!

[@b00ts4ndc4ts]

The problem with ribbon mics is if the take a bad knock.

[@mugenDelta]

$1000 is not cheap. size means nothing in this case. materials are cheap. manufacturing price must be under $30, but people invested $$ into research, so final price tag reflects it.

[@DSWL_]

very interesting to hear thanks WSS

[@SkyrenOfficial]

I still think both vintage mics sound better in a context (not solo). How much better? Not much.

[@mofateam1]

I liked the vintage recording better....

[@TheThinker43]

On bass the vintage was more defined and clear … warm was a muddy mess on bass

[@jimp.7286]

I heard the slightest difference in the 44. Not smoother but maybe a touch warmer due to less top end? Maybe due to completely different magnets used plus aging of the original? The warm 44 was more like a brand new 44 might've sounded back in the day and that's a good thing. The other mic was just outstanding and no, I've no connection to the company. In summary,..I don't see how anyone could go wrong with warm's offerings after hearing your clips here. Impressive.

[@stephencshapiro]

That RCA is so noisy. Cured my GAS for that. Thanks.

[@distortion_plus]

Dynamic mics are passive, it's not creating noise, the output is lower - so you need more gain, which means you hear more noise from the preamp. If you use a lower noise/cleaner preamp or an additional cloudlifter style booster, there won't be more noise.

[@ir8123]

Vintage RCA more clear,cream de la cream feeling,Warm Audio,deep but also muddy.RME Fireface UCX II + Adam S3H.

[@pyratellamarecordingstudio1062]

You can get ribbon microphone modded by Stephen sank and he will put the original vintage rca foil in them. I’ve done this to a buyer m260 and it sounded much better after the mod.

[@macmoll]

At 2x speed listening on my iPhone the Vintage ribbon and the Warm Audio Ribbon sound basically exactly the same.

[@Jazzguitar00]

Well, that ribbon mic is way cheaper than the AEA R44 at least 🙃

[@kevinellis4729]

I'd be curious to see you test and review a t.bone RB 500. $92 at Thomann.

[@Mrpsblobsoflowendmung]

I have a pair of these . And a pair of Cole’s 4038s , I had a very well known engineer in and A/B and he thought the Tbones were the Cole’s. Even said they were thicker warmer and had more detail 🤣🤣😂 nope wrong 😂😂🤣

[@kevinellis4729]

@@Mrpsblobsoflowendmung That's awesome. I have one that I threw onto a Thomann order since I was already taking the hit on the shipping $$ to the US with some other stuff. I think it sounds good, but I honestly don't have much to compare it to, so that's interesting.

[@eduardzemlianoi]

IMHO, The WA ribbon microphone has neither the depth nor the sparkle of the original. RCAs have a more extended frequency range. I think this is a consequence of using cheap thick and heavier ribbon for WA (the original, pure aluminium tape is 30% thinner and lighter but much more brittle), and a higher tension (whereas it is difficult to achieve a clean sound at a low tuning). So, as with almost all cheap ribbon mics, you have two bumps - one somewhere between 100-300 Hz, and the second around 4-6 KHz. Below and above these bumps, you have noticeable drops, resulting in a more midrange-y, in-your-face type of sound, which can cause ear fatigue. "Ear-fatigued" ribbon microphone for a grand - it's just hilarious!)))) Regarding the AKG D19 "counterpart": I think it's great when you have to make a movie about a recording studio in the 60s when they were brand new. That's it. The D19 is much less directional on the high mids, resulting in a less focused, much smoother image. And that's one aspect that made people like it! And just like in their ribbon model - WA19 have narrow frequency range - lacks low lows and high highs. And has troubles to handle transients pleasantly as well. The last thing - a wider stereo image means a worse microphone match (read - bad production tolerances), the matched pair will always sound narrower. So, in conclusion - sometimes you get what you pay for, but this time - much less. P.S.: This is my own opinion, not sponsored, but based on listening to the recordings from this video on my own equipment with my own ears and analyzed through the lens of my own experience, YMMV. If this comment was useful for you, you can like it, and if not, then you are in for an exciting journey, or not ;) Cheers!)

[@BonziRecording]

To finish the comment about the 44s on bass, the WA had an uncontrolled resonance that the RCA took care of beautifully. Do you agree?

[@SlaserX]

Why not show some graphs? Like, actual data comparing the two? Warm, cold, and other descriptors mean nothing after KZbin compression.

[@Bloor005]

The KZbin audio compression strikes again. 😑 I have two WA19s and they're really good on cabinets and acoustic guitar, more versatile than a 57 as I can move them around, in and out, with less proximity change, less frequency issues..

[@markhaliday]

Ok. A pity, because it makes sound comparison less precise. :-)

[@AnnaSibirskaja]

Give me RCA every day with a coffee and ...bray 🤔

[@GuareschiGuillermo]

1000 for the ribbon is not cheap, sounds, for me a bit thin and to modern. You can buy a chead ribbon, change the ribbon and transformer for small amount and have a killer mic. Great review! love to see more ones like this.

[@paserpase2870]

Need a vocal on the tracks to get a good judgment, this isn't gonna work,

[@toslinked]

these are good!