A little background on “Velocity” mics
The VELO-8 name stands for “velocity” microphone, with a traditional
“figure 8” polar pattern; hence, VELO-8. “Velocity microphone” is the
original name used by RCA, Electro-Voice and others for what we commonly
today call “ribbon” mics. They actually worked on reacting to sound wave
velocity (or audio wind), so the name fits if you understand the technology.
Most ribbon mics have a very thin aluminum element that looks like a silver
ribbon. It is moved (activated) by very small amounts of sound (or air velocity)
from instruments or voice. This ultra-thin strip of metal is a double-edged
sword.
First the positive: its ultra-thin element can capture details with a smoothness
not found in any other microphone technology. It can make a saxophone sound
sweet, not harsh. Ribbon mics can do the same for voice and many other
instruments that might record too bright or harsh using modern condenser mics.
Now the downside: while its thinness affords highly detailed sensitivity to
sound waves, it is also easily damaged or torn if the accompanying air waves
are too strong. Higher air pressure levels, like those generated by a closely
miked strong vocalist or a bass drum on axis, can easily rip the thin aluminum
ribbon element resulting in a costly and time consuming re-ribboning repair
adventure. Replacing the torn ribbon is a delicate maneuver, and only possible
if performed by a highly experienced mic tech or a factory repair department.
Unfortunately, both in the early days and today, a broken ribbon element is
quite common. If you find a good mic tech who can repair your ribbon
element, it can take weeks or months before you’re back in business. The old
RCA and Capital studios usually employed a full time tech whose only job was
to maintain their array of ribbon mics so studio time was not lost. But those
old ribbon tech guys are mostly gone today, and few younger techs have the
training and/or experience to do a good ribbon repair. So today, we usually
have to search for that rare “ribbon mic guru” and send it to him, or in the case
of a newly produced ribbon mic, it would have to go back to the factory... and
you wait!
This is one reason velocity mics fell out of favor with most the larger studios,
who embraced the more modern and highly detailed condenser mics which are
not as easily damaged from higher levels of wind or air velocity common to
rock recordings.
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