Reviews » Gear » Issue #167 » Stager Microphones

Stager Microphones: SR-5 hypercardioid ribbon mic

REVIEWED BY Stefan Konstantopoulos

ISSUE NO. 167

In the shadow of the iconic RCA 44 series ribbon mics produced in the ‘30s is the relatively esoteric RCA BK-5A [Tape Op #65]. It was designed as a directional ribbon mic for higher SPL sources on film sets but gradually found favor with music recording engineers. Some vintage BK-5As are still in service but require special care and maintenance, which users insist is worth the price of admission. Stager Microphones set out to build a more reliable and accessible alternative to BK-5A for modern recording applications. The result is the SR-5: A passive, hypercardioid ribbon mic with an adjustable yoke-mount. The aesthetic of the SR-5 is an example of stylish utilitarianism. The construction is undeniably solid, but its lightweight aluminum body and neodymium magnets allow for ease of use on boom stands without counterweights.

I lined up SR-5 with a vintage Shure SM57 clone and a Heil Sound PR-30 [Tape Op #56] in front of a Fender guitar amp. The mics were level-matched through Avedis MA5 [#145] preamps. Starting at a reasonable distance from the speaker, the SR-5 immediately distinguished itself with a full low end, expansive midrange, and forgiving top end, which mitigated the tube noise exaggerated by the dynamic mics. The SR-5 consistently sounded more interesting and coherent than the dynamic mics on several instruments. Then, I compared the SR-5 to a Cloud 44-A [#132] active ribbon mic on female vocals. To ensure fairness, I added a Cloud CL-1 Mic Activator [#85] between the SR-5 and the preamp because it has the same buffer circuit as the Cloud 44-A. Each mic had its own sweet spot and proximity effect resulting from their respective polar patterns. Generally, the SR-5 conveyed a darker vocal tone and urgency of emotion, while the Cloud 44-A offered more air and a relaxed presentation.

The SR-5 sounds like no other ribbon mic I have used, including the (also hypercardioid) beyerdynamic M 160 [Tape Op #60]. The SR-5 softens transient harshness as many ribbon mics do, but with a unique, velvety texture. Its tight polar pattern, compact size, and mid-forward presence further qualify the SR-5 as an ideal alternative to dynamic mics in tracking guitar amps, vocals, and percussion. As an engineer and producer, I never stop looking for truly distinctive tools that can improve my workflow. When they also inspire creativity and have the potential to surprise me pleasantly, I find reasons to use them often. For me, the SR-5 delivered on all counts.

Tape Op is a bi-monthly magazine devoted to the art of record making.

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