A 1957 ribbon mic that tames harshness by design — not by EQ, not by luck, but by rotating its ribbons 90 degrees.
The Beyerdynamic M 160 is a hypercardioid ribbon microphone introduced in 1957. It uses dual 15-mm aluminum ribbons suspended between alnico magnets (later neodymium), rotated 90 degrees to achieve end-address operation and a highly directional pickup pattern. It softens harsh characteristics of strident sound sources. It has been used in broadcasting, live concerts, and studio recordings — notably by Eddie Kramer on Jimi Hendrix and Andy Johns on John Bonham’s drums for 'When the Levee Breaks'. It remains in production over six decades later.
Built for broadcast speech and loud stage sources — not as a general-purpose studio mic.
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How directionality is engineered
Two ribbons + 90-degree rotation = hypercardioid pattern in an end-address form.
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The softening effect, proven
It doesn’t flatten transients — it rounds them, making it ideal for abrasive sources.
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Magnet upgrades, not redesigns
Alnico first, neodymium later — same dual-ribbon core, same physical constraints.
Worth your time?
Yes. Use the whole thing.
4.5/ 5
What works
softening harsh vocals and guitar cabs
delivering consistent hypercardioid rejection in live and studio use
maintaining physical durability across six decades of production
What does not
offer variable polar patterns
include built-in attenuation
tolerate extreme SPL without distortion
provide figure-8 flexibility
Use it if
engineers prioritising directional rejection and natural high-end roll-off
users comfortable with ribbon mic handling and impedance-matched preamps
Skip it if
beginners unfamiliar with ribbon sensitivity
those needing multi-pattern adaptability
The written brief1 min read
What it is and what it was built for
A German hypercardioid ribbon microphone introduced in 1957. Built for speech in broadcasting and for 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 — later upgraded to neodymium — with the ribbon assembly rotated 90 degrees to make it end-address. It delivers a hypercardioid pattern by combining the two ribbons.
What it does better than anything else
It softens harsh characteristics of strident sound sources more smoothly than most ribbons — especially guitar cabinets and aggressive vocals — while maintaining directionality rare for ribbon mics.
What it does badly
It does not reject sound from the rear as tightly as a condenser with switchable patterns. It cannot handle extreme SPLs without distortion. It offers no pad, no filter, and no output level control.
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 for Led Zeppelin’s ‘When the Levee Breaks’.
Who should use it, and who should not
Engineers who need a rugged, end-address ribbon with tight front rejection and natural high-end roll-off. Not for beginners without ribbon-handling experience, or for anyone needing versatility in polar patterns or built-in attenuation.
Is it worth your time
Yes, if you need directional rejection and smooth handling of strident sources in live or studio settings. No, if you need figure-8 flexibility, high SPL resilience, or modern low-noise preamp compatibility without careful gain staging.
