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Oktava ML-52-01
Ribbon microphone with improved internal windscreen and low cut
filter
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Overview
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The ML-52-01 is a brand
new improved version of Oktava’s famous ML-52 with a greatly
improved windscreen, which protect a very sensitive filament
from blast and moisture much better. Moreover it has an additional
roll-of in low frequencies which compensates for the
unavoidable bass boost that occurs with all pressure gradient
transducers when they are used at close distance (proximity effect).
The stunning looks of this microphone
combined with the classic sound of the double ribbon filament and
the reliability expected of today's modern equipment make this a
very desirable microphone.
The Oktava ML52 is suitable for use in any situation where a warm
and rounded sound is required, The ribbon sound lending it an air of
nostalgia whilst competing with modern condenser designs in terms of
frequency response. The virtually non existent noise floor means
that, used in conjunction with a good pre-amp. it is an ideal mic
for digital recording.
As a true cosine or figure of eight microphone the ML52 has many
advantages and uses in broadcast and installation due to the
negligible sound it picks up from the sides, as well as 90 degree
stereo recording. The figure of eight pattern is almost completely
uniform at all frequencies.
The ML52 is eminently suited to string and brass instruments
giving a sparkling but never harsh overall sound and also gives a
particularly pleasing smooth sound to vocals.
The advent of the condenser microphone helped to make the world
forget how good ribbon microphones could be. The ML52 has been
designed to show once again that the ribbon should never have been
ignored or forgotten. |
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Technical specifications
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Polar Pattern |
Figure of eight |
Frequency Response |
20hz to 20kHz |
Sensitivity |
1,6mV/Pa |
Aluminium Ribbon |
2.5 micron |
Nominal Output Impedance |
300 Ώ |
Rated Load Impedance |
1.5 k Ώ @ 300Ώ
1 k Ώ @ 200Ώ |
Maximum SPL @ 1kHz |
> 135dB |
Maximum Output Voltage |
1,2V |
Weight, g |
590 |
Relative Humidity |
85% (25°C) |
Accessories included |
Mic holder |
Accessories optional |
Shock mount |
Frequency response
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Reviews
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Mention “ribbon mics” and the word “expensive” usually
comes to mind. However, due to the recent resurgence of interest in
ribbon mics, Oktava — the 55-year-old microphone company that was
once Russia's sole supplier of ribbon mics — has now returned to
building affordable ribbon models. Housed in a large body with an
open “birdcage”-style top, the new Oktava ML52 uses a double
2,5-micron-thick aluminum ribbon element with a classic figure-8
pickup pattern. Including foam-lined carry case and standmount, the
ML52 lists at $799. One drawback common to all ribbon mics is their
low sensitivity, which in the case of the ML52 is no exception,
coming in at 1 mV/Pa. As with dynamic mics, there are no onboard
electronics, and hence no self-noise. However, like other ribbon
mics, the ML52 needs a clean preamp with lots of gain, and
preferably a preamp that's as close to the mic as possible to avoid
long cable runs. I paired the ML52 with an Aphex Model 1100 tube
preamp, which has plenty of gain and ultra-clean, -135dB EIN specs —
a great combo for use with ribbon mics. With the ML52's low price,
there are some tradeoffs. The standmount feels cheap, and when the
mic's coarsely threaded attachment ring is removed, paint overspray
on the threads makes them harder to manage. Fortunately, Oktava
offers an optional shockmount, which does a far better job of
holding the mic in position. Because the mic is quite susceptible to
stand-borne vibrations, the shockmount is a necessity. The same goes
for a pop filter, as the mic is highly sensitive to breath noise;
here, a standard Popper Stopper™ stocking filter was just right.
First up for the ML52 was cutting male vocals on an R&B tune. The
mic has a very flat, mostly uncolored response, so just a hint of
upper-HF EQ added a nice sparkle to the track. There's a nice, thick
proximity boost up close, but with the Popper Stopper in place,
popping plosives presented no problems. On female lead and
background vocals, the ML52 really jumped, yielding an ultra-smooth,
velvety track that was warm and unhyped. Next up was tenor sax
overdubs, a task that ribbon mics typically excel at. Here, again,
the ML52 didn't disappoint, offering a lush close-in sound that,
with 60 ms of delay and a medium-room reverb, was exactly what we
were looking for. I also noticed that the ML52's pickup pattern was
tight and highly controlled, with excellent side rejection. The
mic's front and back sides are nearly identical in sound — perhaps
just a twist more present on the front (logo) side. This opens up
some possibilities, offering a bit more variation from a single mic.
Retailing at $799 (the street price is much lower), the Oktava ML52
offers an affordable introduction to the ribbon microphone world.
Anyone looking for something “new” should give this one a listen.
— George Petersen for Mix Magazine
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Oktava ML-52 Ribbon Microphone - a Russian ribbon mic brings this
classic technology to a new price point
Hugh Robjohns / SOUND ON SOUND |
User comments
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Fantastic! This mic is now my ABSOLUTE first choice
for electric guitar. And every guitar player I've used it on so far
has noticed the difference. Put your ear in front of the speaker
(noting distance and direction), find the sweet spot, and put the
mic there. I've been hanging mine upside-down in a carpeted room,
completely perpendicular to the floor (to avoid the bright
coloration inherent in angling ribbon mics). The sound quality is
amazing. The control room sounds just like the amp. Patched into an
API 512C mic pre, I've been running these signals straight to tape.
No EQ, no nothing, unless I need something like 1176 electronics for
a little tonal coloration. Guitar players have been going nuts over
these sounds. I've also had good luck recording tenor sax with it
and it had an interesting quality with one male vocalist. (He liked
it, I didn't.) I went out and bought another one. I'll probably get
to try it on upright bass soon and I can't wait.
Even before you consider that it's only $300. I
purchased this mic after buying four of the Oktava MC-012s and
loving them. I'm a big fan of ribbon mics and have considerable
experience with the RCA 77DX, RCA 44, Coles/STC 4038, Royer 121, and
Beyer M160. I find this mic to be sonically similar to the RCA 77s
that I've used, with slightly higher output. Not a really brilliant
top end and nice, smooth low mids. I've always loved the Coles mics,
too, but I always try ro buy mics in pairs and I just haven't been
able to shell out $2000 for a pair of 4038s yet. As I said I love it
on guitar and my favorite setups so far have been a pair of ML-52s
about 8" off of each speaker of a 2x12, one ML-52 and an AT 4047, or
an ML-52 about a foot back and a pretty audacious room mic (U87, AT
4050, & AT 4047 are faves). This mic is truly a winner. Can't wait
to try the tube mics!
Chris Garges at 09/05/2002
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What can I say other than it sounds exactly like an
RCA 77DX. I've had stellar results in using it on guitar amps. I
wouldn't use it for louds hard rock or metal but I don't play or
record that kind of music. But...for 30-50watt amps for country,
rockabilly, jazz and blues it recreates exaclty what you hear and
you don't have to use nay comprssion or EQ, it's a dream. I also use
it on female vocals beacuse it rolls off the highs very well, the
same for males with a higher range. If you are into doing modern
rock, metal or rap music this probably isn't mic for you. It also
makes a great room mic, I used it for a live recording and use the
Oktava as the main sound source only using the individual mics to
fill up the gaps.
If you can't afford a coles, beyer or an old rca
ribbon then this is the mic that won't set you back in dollars or
that much quality. One thing I would warn anyone interested in
buying one of these is that they don't all sound the same. I was
todl this before I bought mine and went to guitar center and made
them fire all four of them up and listed to each one which were all
a little diffrerent.
Johnny Mercury at 05/26/2003 |
Application notes ML 52
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General Comments: Ideal for digital recording as the noise
floor is virtually non-existent. The ML 52 is also particularly
useful in broadcast and installation due to the negligible sound
it picks up from the sides, as well as 90 degree stereo recording
Female vocal: The ML52 had a very warm and soft sound which
is perfect for jazz vocals. It gives a rich sound perfect for over
sibilant performers. There is an abundance of rich bottom end at
very close spacing.
Steinway baby grand piano: The ML 52 produces outstanding
results on all pianos particularly Grand and Baby Grand.
Piano is most commonly recorded in stereo with two mics, one
capturing the upper musical range and the other the lower, and
with the piano lid propped open. Set up the mics inside the raised
lid. The first mic 8-10" above the upper strings closer to the
keyboard end of the piano. The second mic is placed above the
lower strings toward the back of the piano. The first mic track is
panned hard right and the second hard left, so that as the player
plays from the low notes to the highs, the sound moves across the
stereo field from left to right
Solo singing guitarist: The ML 52 sounds great on both
vocals and acoustic guitar and its figure of 8 pattern allows
flexibility when recording two sound sources at the same time in
the same space.
Set up the mics one for the guitar angled to reject to voice and
one for the voice angled to reject the guitar.
Electric Guitar: This mic is perfect for electric guitar
cabinets. The mic run through a good mic pre amp straight to tape
with no EQ gives amazing sound quality
Set the mic up about 8 inches from the speaker, if you are using a
2 cone amp use two mics each the same distance away. Alternatively
use the ML 52 in conjunction with the MKL 5000, in this instance
place the ML 52 about a foot back from the speaker and the MKL
5000 as a room mic set several feet back and above, depending on
the size of the room
Brass: The ML 52 is very adept at recording brass
instruments where the warm character of the sound is captured very
well by the mic
Trumpets and trombone: These can both be captured with fine
clarity and detail using the ML 52, which is harder to achieve
with budget condensers
Set-up the mic anywhere from 6-12 inches away from the bell so it
doesn't get overloaded.
For trumpets position the mic 45 degrees off axis and about one
foot away. This will produce a sound that will mix better with the
rest of the instruments.
Bongos: The ML 52 gives bongos a clear and unadulterated sound
capturing the punchy attack and warm ring of the instrument
Set up the bongos with the mic in between the two skins at about
6-10 inches away. Alternatively set-up as room mic, placed above
and about 5 foot away will leave bongos sounding particularly
natural and clear when placed in the mix
Double / Upright Bass:
Set-up the MK 319 6 inches above the bridge and aimed slightly (to
taste) toward the sound hole
Toms: see drum kit applications
If the drum set you're miking has six or more toms, individually
miking each tom may not produce the clearest sound (due to
phasing). Instead, place an ML 52 microphone between each pair of
toms, using one half of the figure of 8 pattern directed towards
each tom
Clarinet and flute
Steel strung acoustic guitar
Nylon classical guitar |
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