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SKU
846
beyerdynamic M 160 Hypercardioid Double Ribbon Microphone
Classic hypercardioid double ribbon microphone
MFR# 100668
Product Description
The beyerdynamics M 160 is a very unique ribbon microphone, with it's unusual hypercardioid polar pattern, it sets itself apart from your standard ribbon mic. M 160 has a very warm, silky sound, and a very high transient response, that makes it great for drums, acoustic instruments, brass sections, vocals, or as a room mic.
The hypercardioid polar pattern offers 25 dB of off-axis noise rejection, making it a go-to mic when multiple players are in the same room. The M 160 is the signature sound of John Bonham's huge drum tone, featured on Led Zeppelin's "When the Levee Breaks", as well as Eddie Kramer's first choice for Jimi Hendrix's guitar cabinet on all his recordings.
Features:
- Hypercardioid polar pattern
- Unique double ribbon microphone transducer
- Extended frequency response
- Excellent transient response
- Compact and rugged design
- Warm and natural sound
Product Specifications
| Condition | New |
|---|---|
| Package Contents | Mic, mic clip, mic bag |
| Length | 156 mm |
| Diameter | 38 mm |
| Unit Weight | 156 g |
| Tube or Solid State | Solid State |
| Transducer Type | Ribbon |
| Polar Pattern | Hyper-Cardioid |
| Number of Microphones | Single Microphone |
| Phantom Required | No |
| Impedance | 200 Ohms |
| Frequency Range | 40 Hz - 18 kHz |
| Sensitivity | -60 dBV/Pa (1 mV) |
Product Reviews
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Go to overhead mics
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OK, Its Bowies favorite live vocal mic, Andy John's captured Bonham's iconic drum room sound for "When the Levee Breaks" with a pair of these and Eddie Kramer used it on most of Hendrix's recordings.... and last and not least, hand assembled in Germany by the same woman for decades... I was told by a Beyer representative "when she stops making these they will stop being made"
The mic itself is a workhorse and unique in design having 2 ribbon elements on top of each other, the result is a hotter output and more consistent tone... It can handle loud SPLs and some even love it on a snare, very natural on overheads, cabinet and just as well a acoustic or cello. Great if you wanted to warm up a Taylor guitar or Trumpet.. not to mention excellent rear rejection, a rare welcomed quality for a ribbon. This is a great first mic if you wanted to get a pro grade ribbon as it will be most useful over other more traditional designs.. Its a studio must have... -
Great sounding microphone. Exceeded my expectations.
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Depends what you are looking for.
This is not bright but I have found uses for it where nothing will get this sound. I also purchased an m130 (figure 8) to match up for M-S recording. -
Im not a professional musician or audio engineer, but my buddies and I like to record some covers as a hobby. We play a lot of classic rock covers, Zeppelin, Hendrix, Rolling Stones, Alice Cooper, etc. I was reading up on how they got some of those iconic drum and guitar tones and this mic came up time and time again, apparently it was the microphone of choice for Jimi Hendrix on his guitar and the mics used to get the huge John Bonham drum tone. We decided to add two of them to the mic collection and record some Zeppelin and Hendrix tunes. When I put it on the electric guitar, I was instantly pulled to the past, it was the closest my guitar rig has ever sounded to a classic recording. It had far more definition in the note attack than my previous microphone, and much warmer sounding with my Strat. When we did the drums, I had a mic on the kick and snare, then put the M160s farther back in the room. At first I wasnt getting that huge tone, but once I learned what compression was those two mics sounded bigger than anything we tried recording before. Im really glad we added these mics to the setup, finally able to make some recordings that sound like my heroes.
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I run a medium-low budget project studio, but my studio has a few high-end preamps and excellent conversion. After purchasing this mic with an M130 and AEA TRP preamp for primarily acoustic guitars, I knew ahead of time that this mic would get a lot of use on other sources. I'm a horn specialist & multi-instrumentalist. Recently I tracked my tenor sax with this mic, and I was seriously floored with the sound. The tracks on tenor sax was like something you'd hear on any top-notch modern jazz or pop album. Overdubbing solos & horn-lines to beach-music type tunes, I honestly didn't need any EQ or compression - the tracks were that even, smooth & natural. I have a music partner who does a lot of songwriting, and he's tracked entire demos with just this one mic. Now, I just have to keep myself from taking this mic out of the studio to live gigs! I will buy another as soon as finances allow. Definitely a 'work-horse' mic. BTW, the gain & clarity on the AEA is amazing on these ribbon mics. I'll be trying the AEA on dynamics & tube condensers soon.
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Describe Red Lion Audio for us. What's the layout like?
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How would you describe your studio workflow?
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I love having the API preamps, the option of loading up the 500 Series slots and the monitoring section. It always gives that punchy sound during mixing and, of course, the price.What do you like most about working on that desk?
The way I can mix with two hands without having to use a mouse. I can shape the sound how I want it much faster than using outboard gear and not need to worry about latency issues. I can also use my Bricasti Design M7 reverb with my aux send and return and that's all I need!What's an essential piece of gear to your process and why?
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For vocals, I like the Upton 251 for modern sounding vocals and Neumann U87 for classic rock vocals. On guitar, I usually use a Royer Labs R-121 and Beyerdynamic M 160. If we're talking drums, a pair of Coles 4038 for overheads and a pair of AEA R84A for room mics.What was your most recent gear purchase? How has it changed what's going on at Red Lion Audio?
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Production-wise, the Beatles' Revolver because they were making music way ahead of their time. Sound-wise, Muse's The 2nd Law. That is the sound of a perfect mix to me.Who are some of your favorite engineers and producers?
Chris Lord-Alge, George Martin and my friend Sam Guaiana. He is killing it in the mixing game.What's the greatest piece of advice you've received about working in the recording studio?
Always record guitars using a DI and always use an analyzed spectrum on your mix buss.
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1.Shure SM7B Dynamic Microphone
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3. Sony C800G Pac Condenser Microphone
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5. Royer Labs R-10 Ribbon Microphone
Looking for a ribbon mic that won’t break the bank? Check out the Royer Labs R-10. This colorful ribbon mic is hand-built and combines the same ribbon element used in the renowned R-121 with an all-new custom transformer. An internal shock mount isolates the ribbon from shocks and vibrations, while a multi-layered wind screen provides superior protection from air blasts. Plus, the R-10 uses a unique offset offset-ribbon design for added versatility, providing two unique tonal responses from the front and back of the mic.
6. Slate Digital ML-1 Modeling Microphone
Why choose just one microphone when you could have them all. The ML-1 is a large diaphragm modeling microphone from Slate Digital that’s able to emulate a wide range of classic tube mics. Simply record with the mic, get a pristine track and then choose from eight beloved mic models (including a couple from this very list), along with two classic preamps to find the perfect sound for any source.
7. Neumann U 87 AI Condenser Microphone
Arguably one of the most recognizable microphones in the world, the Neumann U 87 is a staple in the recording industry and can be found in studios all around the world. Originally created as a solid state version of the legendary U 67 tube condenser microphone, the U 87 Ai combines the K67 dual diaphragm condenser capsule with innovative FET technology to deliver unparalleled clarity. With the U 87 in your locker, you’ll never have to wonder which mic to reach for again.
8. Townsend Labs Sphere L22 Modeling Microphone
The Townsend Labs Sphere L22 is a dual-capsule, large-diaphragm condenser modeling microphone, capable of emulating some of the most popular mics on the planet. Optimized to work with UAD’s Apollo platform and available in all major native plug-in formats, the Townsend Labs Sphere currently offers 15 unique mic emulations with more being added all the time. Best of all, the Sphere lets you tweak your sound before or after recording, including polar pattern, phase and even proximity effect.
9. Beyerdynamic M 160 Ribbon Microphone
Perhaps the most unique mic on this list, the Beyerdynamic M160 is a ribbon mic with an unusual hypercardioid polar pattern that works great for drums, acoustic instruments, vocals and more. The focused pickup pattern helps reject unwanted noise, especially when performing in the same room as others, while the extended frequency response delivers a warm, silky sound that engineers love. From John Bonham's huge drum tone on Led Zeppelin's "When the Levee Breaks" to Jimi Hendrix’s roaring guitar cabs, the M160 can be heard on countless classic recordings.
10. Josephson e22S Condenser Microphone
If you don't know the story about the Josephson E22S, it's a good one. Created by David Josephson based on the demands of beloved engineer Steve Alibini (Nirvana / The Pixies), the E22S features a unique design that enables it to be placed easily in between pieces of drum hardware. Steve Albini says, "“The specific need addressed by the e22S was drum kit recording, and the mics are used in that capacity nearly every day, but once they were in our hands, they quickly became a favorite mic for many instruments, including acoustic guitar, mandolin, banjo, guitar amplifiers, organ and horns. The e22S is easily the most versatile microphone in our cabinet."
If you have any questions or would like to purchase any of the microphones mentioned in this blog, we're here to help! Please contact a Vintage King Audio Consultant via email or by phone at 866.644.0160.
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