ProAudio Review - November 2008 - (Page 42)

www.proaudioreview.com ant transients, a solid middle, and that rolled off top that makes ribbons so nice on such bright, transient sources. These qualities also nicely reproduced some flute overdubs (especially when paired with a condenser) with much desired warmth in the low mids and a pleasantly understated top end (that de-emphasized valve clicks and noises). Even with the Sigma's active electronics, a lot of gain was required, but self-noise was not an issue. On solo acoustic guitar I used a spaced pair of AKG C451s for detail and mounted the Sigma further back for the middle of the image and some air — bull’s eye! The Sigma provided all the bottom I needed (and could ever hope for), a little ambience and smooth articulation to the finger picking. After time alignment, a 3 dB scoop at 200 Hz and a little top boost, I had thick and round bass notes with great stereo imaging and plenty of open top-end detail — sweet. I tried the Sigma on a baritone vocalist and got results that were just too tubby and lacking in highs for this singer. In fact, I never did find a perfect match for the Sigma on vocals during the review period, although I'll bet it would sound good on thinner voices and aggressive stuff, as most ribbons do. I did try multiple impedance settings with my Manley TNT preamp, but (predictably) found no appreciable differences, unlike non-active ribbons. During these vocal tests I found that the rear lobe of the figure 8 pattern has a noticeable low-mid bump in its response, not quite symmetrical, but typical for ribbon mics. The Sigma will do the job on electric guitar with some limitations. Side by side with my AEA R92 ribbon, both did a great job of picking up thick, clean, jazzy tones. But for some hardrocking overdubs on “11” (with a Marshall and a Mesa Boogie) the R92 held up to the SPL but the Sigma noticeably distorted. I had the Sigma at a 45-degree angle to the speaker cone, but had to back off to about 24 inches or so to avoid clipping and get a roomier tone. Summary Considering its smooth, classic ribbon response, inspiring looks, quality accessories, and active electronics, I'm going to recommend the Sigma. Sure, its versatility is limited but it does what ribbons are expected to do: smooth out transients, pickup real bottom end and round off the top end. Maybe you don't have a high-gain preamp, you need your first ribbon, or you’re looking to expand your palette of ribbons. Either way, you're good to go with the Sigma. Fast Facts Applications Studio and project studio Key Features 20 Hz to 15 kHz frequency response (with the high end roll-off beginning at about 5 kHz); -150 ohms impedance; max SPL of 135 dB (at 0.5% THD at 1 kHz); self-noise at 14 dB (A-weighted); active ribbon design; accessories including a shockmount and an aluminum case with combination-lock and velvet lining Price $799 list Contact FDW Worldwide (US distributor) | 608-227-2040 www.fdw-w.com Product Points Smooth and pleasant classic ribbon response Hot output and no impedance issues from active electronics Attractive and inspiring design Distorts at high SPL Wide shockmount limits placement options Score With itsaccessories and active electronics, smooth, classic ribbon response, inspiring looks, quality the Sigma is recommended. 42 ProAudioReview | November 2008 http://www.proaudioreview.com http://www.fdw-w.com http://www.linearsystems.com

Table of Contents Feed for the Digital Edition of ProAudio Review - November 2008

ProAudio Review - November 2008 Contents Technically Speaking First Look 2008 PAR Excellence Awards New Studio Products Studio Sense Review: Solid State Logic Matrix Review: Arsenal Audio by API R24, V14, and R20 Mini-Review Review, Second Opinion, and Benchtest Review: A-Designs HM2EQ HAMMER Review: Sontronics Sigma Phantom Powered Ribbon Microphone Analog In The Studio: Nostalgia Ain’t What It Used To Be New Live Products Worship Audio Review: Community VERIS Series Loudspeakers Installation Profile Single Slice

ProAudio Review - November 2008

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