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cascade fathead vs fathead ii

The mic was released in 2007. Mixing this with the D112 I had inside the kick drum yielded a thunderous tone. You will find that when recording acoustic guitars, guitar cabinets, vocals, drum over-heads, and countless other types of instruments, the Fat Head II ribbon microphone will produce the warmth that is vital to today's digital recording environment. The active/passive switch is located on the circuit board inside the microphone chassis and can be accessed by unscrewing the bottom of the mic and removing the chassis. The difference between the two is only the shape of the grille (i.e. I also had good results using the Fat Head II A/P on the body along with a Neumann KM-86i on the neck. On the Cascade website, the frequency response for the original ones looks better, but a better built mic would be useful as well. The mic works extremely well on electric guitar in both active and passive modes. Since the output loading remains constant in the active mode, the difference from one mic pre to another is quite subtle. The ability to switch between active and passive operation crowns Cascade as a true innovator in modern microphone design. Included with the Fat Head II A/P is an aluminum case, heavy-duty shock mount, padded storage bag, cloth storage pouch (perfect for bagging a mic when left on a stand but not being used) and a microfiber cleaning cloth. For more stories like this, and to keep up to date with all our market leading news, features and analysis, sign up to our newsletter here. I used the pair to record a Taylor 514CE with one mic on the body and the other on the neck; I ended up with a fantastic track. I guess if I had to choose now, I would get a pair of the normal fat heads. BIO: Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. I used it on multiple tambourines and shakers with great results. Just bought a pair of Cascade Fathead II's. After using the mics for drum ambience several times, I found that I prefer the mics in passive mode for drum room but having the active option is like having two different mics in one. As with other active ribbon microphones, the Fat Head II A/P’s active circuit isolates the ribbon’s output from the microphone preamp so that the load on the ribbon can be both optimal and constant, resulting in less ribbon coloration and a purer sound quality. also, if anyone has any personal experience with these mics, I would like to hear what you think. Steely Dan touring with 5 Cascade Fat Head II Ribbon Microphones with a Mu metal cover on it. The mic has a figure 8 polar pattern and 135 dB maximum SPL. On the Cascade website, the frequency response for the original ones looks better, but a better built mic would be useful as well. According to Cascade, manufacturing costs are reduced by having their microphone components manufactured overseas, but they design, assemble and tune the microphones in the United States. Cascade’s latest addition, the Fat […] When I first began using the Fat Head II A/P, I found myself routinely comparing the sound difference between the active and passive versions, even going so far as to keep one of them set on active and one set on passive; that way, I could compare between the two modes on every sound source before committing to one or the other. Combine this with a switchable active/passive circuit, a Lundahl transformer, and a newly designed body that is available in brushed silver (my preference) or matte black, and you have the Fat Head II A/P. In passive mode, the frequency response is 60Hz to 13 kHz +/- 3 dB with sensitivity of -56 dB +/- 2 dB (0 dB=1V/Pa). The Cascade Fat Head II offers the natural and open sound associated with the finest ribbon microphones. Who's using Cascade Fathead II for drum overheads. This sounds more complicated than it is and can actually be done fairly quickly. My favorite use for the mic is recording acoustic guitar, which I prefer in Active mode. According to Cascade's own website, the Fat Head II differences are: I have a pair of stock 2. the fathead has a better low and high end than the fathead II. The guts are the same. In contrast, when operating in the passive mode, the mic’s sound changes from one mic pre to another. So far I like them best through the Neotek's. I've never owned any ribbon mics before and these are my first experience with any. Visit our corporate site at www.futureplc.com. I used them in this capacity multiple times (most recently to record Marcus Finnie playing drums on jazz great Bernie Lackner’s current work in progress). Update your browser to view this website correctly. The Cascade Blumlein Stereo Adaptor Bar is quite affordable ($99) and can be used with virtually any microphone, so it’s definitely worth checking out as well. My review set of mics included a stereo bar that I used to record an acoustic guitar using MS recording, a technique that yields a beautiful, lush, warm acoustic sound. It even worked well as a outside kick drum mic placed about two feet in front of the kick drum, angled slightly down and squashed to death (again with a Distressor). The patent-pending Active/Passive switching allows the user to select passive for a warm, smooth, traditional ribbon character or active for a modern, open sounding, full-frequency character. does the fathead actually have a better response, or is that something that Cascade messed up on the website? Frequency Response - Bidirectional Click Graph to … Additionally, the active circuit has a slightly better high frequency response than the passive, which isn’t very apparent when recording electric guitar, but is quite obvious when recording acoustic guitar and piano. Has anybody that used both of these mics noticed a difference in the strength of the connection between the head and body parts of them? the biggest thing that confuses me it the frequency graphs. Hey there! Between the rich, woody and full sound of the body and the pristine tone of the neck, the result was wonderful. also, if anyone has any personal experience with these mics, I would like to hear what you think. I still prefer my staple Royer R-122 for this application but this can easily fill the gap if there isn’t a R-122 available. Most would agree that getting the transformer upgrade is a worthwhile option as well. Fathead vs. Fathead II I guess if I had to choose now, I would get a pair of the normal fat heads. When you buy products through links across our site, we may earn an affiliate commission. During the same tracking session I used the mic, again in active mode, on upright bass along with a Neumann U47, and had wonderful results. The Fat Head II is an attractively-priced, great-sounding ribbon mic, switchable between active and passive operation. To simplify, the active mode is more transparent where the passive mode allows the character of a mic pre to speak through the mic. When operating in Active Mode, the mic has a frequency response: 60 Hz to 15 kHz +/- 3 dB, with a sensitivity of -39 dBv +/- 2 dB (0 dB=1V/Pa). I've been looking at these mics for a couple weeks now, scavenging the depths of the internet for a deciding factor, but nothing really swings me either way. I can see myself using the mic to record vocals from time to time, especially on a vocal that tends to be a bit edgy or piercing, but I would never purchase the mic specifically for that application. The active portion of the Fathead II Active/Passive ribbon microphone is a carefully adjusted differential cascade JFET amplifier where the phantom power supply 6K81 current limiting resistors are used as the cascode stage drain load resistors. You can't go wrong either way... Cascade Fatheads are a great value at a great price point. The Cascade Microphones Fat Head II is also known as: Fathead II. Published: January 15, 2013. russlong.ws, Contact: Cascade Microphones | cascademicrophones.com. In the active mode, the mic’s phantom powered electronics utilize an amplifier circuit that provides an extended high-frequency response and approximately 25 dB of low noise gain before the signal comes out of the mic; this makes it possible to use the mic with the long list of fantastic sounding mic preamps that provide only minimal gain. The more I used the mics, the more I came to know the sonic differences between the two modes and, at this point, I can predict which I will prefer on a sound source without needing to compare. Update my browser now, By Russ Long Specifications. I also had good results recording a piano in MS using an Earthworks SR77 as the Mid mic and the Fat Head II A/P as the Side. The mic does a great job capturing percussion. Cascade Microphones of Olympia, Washington U.S.A. offer only the highest quality hand-built professional ribbon microphones used by professional studios and musicians around the world. The folks over at Cascade, the mic has a better low and high end than the Fathead has better... The grille ( i.e known as: Fathead II 's either way... Cascade Fatheads are a value! Mics, I would like to hear what you think Fat Head II Active/Passive, ribbon. My favorite use for the mic has a figure 8 polar pattern 135. 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