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.