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Ribbon microphones have long been studio staples, prized for their warm, natural sound and ability to tame harsh frequencies. Perhaps one of the most unique designs is the B&O Fen-tone, prized for its smooth, detailed sound.
The Warm Audio Fen-tone pays homage to this classic 1950s ribbon design while adding modern upgrades like a custom Japanese ribbon element, rare-earth Neodymium magnet, and CineMag USA transformer. Plus, it includes a built-in 26 dB in-line preamp to combat the low output of the original design.
But how does it sound in action? We asked Vintage King’s Bryan Reilly to put the Fen-tone to the test, recording a variety of instruments in both passive and active modes.
Keep scrolling to hear the Fen-tone on drums, guitars, bass, vocals, and more—but first, let’s dive into what makes this mic special.
The original small-format ribbon mics of the 1950s were beloved for their tight lows, lush midrange, and forgiving top end. The Fen-tone builds on that legacy with premium components: a handcrafted Japanese ribbon element for enhanced transient response, a rare-earth Neodymium magnet for improved sensitivity and durability, and a CineMag USA transformer for that classic vintage sound.
The issue with passive ribbon mics is their low output, which typically requires high-end preamps to supply enough gain. Thankfully, the Fen-tone solves this issue with a built-in “Warm Lifter” preamp. With the flip of a switch, this discrete high-impedance JFET circuit adds 26 dB of clean gain.
Sonically, the Fen-tone delivers powerful lows, rich mids, and a smooth top end that naturally tames harshness above 15kHz. This warm, forgiving character makes it ideal for aggressive sources like guitar cabs, drum overheads, and horns. Built to handle high SPLs with ease, it captures every nuance while keeping recordings sounding smooth and never brittle.
For this Hear The Gear session, Bryan Reilly recorded a wide range of sources using the Fen-tone in both passive and active modes. All tracks were recorded through either an Undertone Audio preamp or a Retro Instruments 500PRE (where noted) with no EQ or compression.
Below, you’ll hear raw tracks showcasing the mic’s natural tone, followed by a full mixed version to demonstrate how well it sits in a production.
Up first are the clean guitars, for which Bryan recorded a Les Paul Traditional Pro with single coil pickups through a vintage Fender Champ using a single Fen-tone in passive mode. The mic was placed 4 inches from the front of the amp and run through the Undertone with the gain at about 35. The Fen-tone captures the clean, sparkling character of the amp with rich midrange detail.
For dirtier electric guitar tones, Bryan used a Les Paul Traditional Pro with humbucker pickups through a 1965 Ampeg Gemini. This time, the mic was placed about 5 feet from the front of the amp. The distance allows the amp's distortion to breathe and develop in the room, while the Fen-tone's natural response smooths any potential harshness in the overdrive without sacrificing presence or impact.
For the full drum kit, Bryan used the Glyn Johns technique with two Fen-tones in passive mode. The mics provide a balanced representation of the entire kit with wide stereo imaging, natural cymbal decay, and a warm, cohesive sound.
As for the snare, Bryan recorded a 70s Olive Badge Ludwig marching snare using different approaches. The left channel features a close-miked setup in passive mode, while the right channel captures the snare from six feet back in active mode. The combination showcases the Fen-tone's versatility, offering both the immediate impact of the close mic and the natural room sound of the distant mic, with plenty of detail in the snare's attack and decay.
Bryan also captured the toms from two positions to add depth to the recording. For a distant tom perspective, Bryan placed two Fen-tones eight feet back from the toms, both in active mode. The mics capture the full resonance and power of the toms with a natural room sound.
In contrast to the distant toms, Bryan also close-miked the toms with two Fen-tones in passive mode, positioned just above the rim. The result is punchy and full-bodied, with plenty of attack and resonance that captures the true character of the drums without any harshness in the transients.
Bryan isolated the cymbals with a single Fen-tone in passive mode, positioned about a foot above the cymbals. The result showcases the Fen-tone's renowned ability to tame potentially harsh high frequencies, delivering all the shimmer and detail of the cymbals without any brittle or piercing qualities.
Finally, for the auxiliary percussion, Bryan recorded both the shaker and tambourine using a single Fen-tone mic in active mode. The shaker was captured from about a foot away, while the tambourine was recorded from six feet back at gain 35. Both instruments show off the Fen-tone's ability to handle transients with clarity while maintaining a smooth, natural sound.
A 1978 Fender American P Bass through a 70's Ampeg amplifier was recorded with a single Fen-tone in passive mode, placed 8 inches from the front of the amp. The microphone captures the full low-end punch and midrange growl of the bass cabinet, with excellent definition that allows the bass to cut through a mix without overwhelming it.
Bryan recorded a 1963 Martin 00-28C using a Blumlein technique with two Fen-tones positioned about a foot away from the guitar, both in passive mode. The result captures the full warmth and intimacy of the nylon strings, with plenty of body resonance and a silky, detailed top end that avoids any harshness.
For the steel string acoustic, Bryan used a 1974 Martin D18 recorded with a single Fen-tone in active mode, positioned about 4 feet away from the guitar. The Fen-tone beautifully captures the natural room ambience while maintaining definition in the pick attack and string detail.
Mike Leslie's lead and harmony vocals were recorded in a vocal booth using a single Fen-tone in active mode through a Retro 500PRE with gain at 25 and output maximized. The Fen-tone did what ribbon mics do best: rich low-mids, thanks to the proximity effect, and a natural roll-off above 15 kHz that helps control sibilance without sacrificing clarity.
Hear how all of the tracks come together, with the Fen-tone providing a cohesive, balanced foundation.
The Warm Audio Fen-tone is a versatile ribbon mic that honors its vintage inspiration while adding modern flexibility. Whether you’re tracking guitars, drums, or even vocals, it delivers the iconic ribbon sound. The built-in preamp is a game-changer for home studios, ensuring a strong signal without having to purchase additional accessories.
Ready to hear the difference for yourself? Check out the samples above and see why the Fen-tone might just become your new go-to ribbon mic.
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