Cascade Microphones FAT HEAD - Black/Gold
Product ID: 8668830
Unlike most ribbon motors designed today with an offset ribbon the new Cascade FAT HEAD houses a hand-tuned ribbon element that incorporates the legendary symmetrical ribbon design. This design offers a true figure 8 pattern. The corrugated aluminum membrane itself is positioned in the center from front to back, thus producing a balanced audio input signal to both sides of the ribbon assembly. This design is very useful when executing a mid-side or Blumlein recording set-up and also great for live stage use. The FAT HEAD warm full-bodied signature and increased sensitivity is what you would expect and demand from a professional ribbon microphone and the FAT HEAD delivers. The FAT HEAD is suited for guitar cabinets, drum over-heads, vocal, piano, horns, strings, and much more. Specifications: Type: Ribbon (velocity) Microphone; Ribbon type & Dimensions: 99% Pure aluminum, 2.5 micron, 1 3/4" (L) X 3/16" (W); Polar pattern: Figure 8 Symmetrical design; Sensitivity: -56 db +/- 2 dB (0 dB=1V/Pa); Frequency response: 30 - 18,000 Hz (+/- 3dB); Output Impedance: <=200 Ohms; Recommended load impedance: >1000 Ohms; Max.SPL (1% THD @1000 Hz): 165 dB; Connector: 3-Pin male XLR; Size: Diameter: 3" (O.D. grill), overall length 6 1/2", 7/8" (O.D. boy). Includes: FAT HEAD Ribbon Microphone, Aluminum case, Deluxe oil stained wood box, Premium suspension shockmount, Drawcord cloth storage pouch, Micro-fiber cleaning cloth, and Specifications and typical measurement report.
D**D
Not like you need another fanboy FatHead review..
.. But allow me to present an unorthodox application for this microphone that I've found quite useful in drum recording.Amidst your standard drum mic setup, place one fat head over your kit and lowpass the heck out of it (maybe 6db/octave around 150hz). Compress and mix to taste. This mic is fabulous at picking up the "meat" of your drums. I swear I didn't know my toms had much sustain until I put a fat head above the kit. Provided your room doesn't sound like crap, the lows you can get out of this can be precious and meaty.For the curious, the rest of my drum image consists of a condenser spaced overhead pair (gently hi-passed), a hi-hat mic (gently hi-passed), and a snare and kick mic. Found I don't need to close-mic the toms anymore, saving me several record channels.Sort of inspired by the Glyn Johns method, but tweaked a bit.It's also great to create a really mellow acoustic guitar tone that sits way back in the mix, if you cut some mids and boost some highs on the track.Just my 2 cents.
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