What it is and what it was built for
A hypercardioid ribbon microphone introduced in 1957. Built for speech in broadcasting and music in live concerts and the recording studio.
How it works, in terms a player would use
It uses two 15-mm aluminum ribbons suspended between alnico magnets. The ribbon assembly is turned 90 degrees to make it end-address. This gives it a hypercardioid pattern.
What it does better than anything else
It softens strident sound sources more smoothly than most ribbons—without dulling transients—thanks to its dual-ribbon hypercardioid design.
What it does badly
It cannot reject sound from the rear as tightly as a condenser with switchable patterns. It offers no built-in attenuation, so loud sources risk overloading the ribbons if not positioned carefully.
What people made with it
Eddie Kramer used it on Jimi Hendrix’s vocals and amplifier. Andy Johns used it to capture John Bonham’s drum tone on Led Zeppelin’s ‘When the Levee Breaks.’
Who should use it, and who should not
Engineers tracking guitar cabinets, brass, aggressive vocals, or room mics where directionality and natural compression matter. Not for beginners unfamiliar with ribbon handling or phantom power risks.
Is it worth your time
Yes—if you need a directional ribbon that tames harsh sources and can handle high SPLs without a pad. No—if you need figure-8 rejection, low-end extension below 40 Hz, or immunity to phantom power mishaps.
