$310

I see all these ribbon mics by Royer and Rode all going for well into the thousands of dollars, but are they really that much better than condensers or dynamic microphones? If so, why?

Also, if you use ribbon mics in your studio, what do you use them primarily for?

I have used a ribbon mic in conjunction with a 57 to mic my electric guitar amp for years now and I can say that ribbons capture the sound of a guitar amp (in conjunction with a 57) better than anything else. Condensers add a top end shimmer and a subtle compression that can be worked around in some instances depending on how loud you're hitting the mic. Ribbons alone can be a tad dark, but warm and creamy and smooth. When used along with a 57 (for bite), mixed almost evenly, the sound I get mic'd is very close to what I am hearing or want to hear out of my amps. I used a Royer for years it's a nice mic. I'm currently using a Cascade Fat Head II (~$250) and I like it as much if not more, especially for the money. I've also used the Royer to record acoustic guitar at home with good results if you want that "ribbon" sound. I'm just really partial to ribbons over condensers. Condensers definitely have their place with acoustic instruments and drums where you want that high end shimmer, but on electric guitars I don't think it's always best.

About a year ago our studio purchased the Royer 121 and the 122v as well as a Beyerdynamic M 160 and have fallen in love with them. Before these incredibly strong ribbon mics came around - ribbons where the mic you avoided because you couldn't afford to replace it when you stupidly passed phantom power through it. When they first came in I did some research and the Royer's claim they can handle up to 130 SPL. If I'm not wrong, that's comparable to 6 feet away from a jet engine.

Anyways, I've used the 121 and 122v on just about everything you can bring into a studio and found it is best put to use on electric guitar amps and the occasional Leslie. I also love, love, love the M 160 a good three feet off of a guitar amp when tracking relatively clean sounds.

Much like Michael above said - rarely do I throw one of these ribbons up without a 57 to back it up. I think the 57 - Ribbon combo is priceless on a guitar amp and definitely a good bit better than even the best condenser. Save your U87 or KM184's for the acoustic guitar or drum overheads and send in the big dogs for amps.

Try getting your hands on a ribbon, condenser, and dynamic - then do a mic shoot out on the same amp and see what you think. I never truly understand a mic until I set it up against another.