The M Series comprises, left to right, the M 88 dynamic mic, the M 160 and M 130 ribbons, the M 201 dynamic, the MC 930 and 950 capacitor mics and the MM 1 measurement mic.
There’s something for everyone in beyerdynamic’s classic M Series microphone range.
In the 38 years this magazine has existed, its pages have paid witness to many seismic changes in music recording. Yet there are still products that SOS has never reviewed — because they’ve been around for even longer than we have. When Sound On Sound was launched in 1985, beyerdynamic’s M 160 ribbon microphone was already approaching its 30th birthday, and the M 88 and M 201 dynamics were also established classics.
Some time in the 1990s, the M Series microphones were folded into beyerdynamic’s TG line, which was targeted at live sound — the TG stood variously for ‘touring group’ or ‘touring gear’. One or two have fallen by the wayside, notably the M 69 stage vocal mic and the M 380 kick‑drum mic, but the core line‑up has remained in continuous production. As we saw in last month’s factory tour, they’re still largely handmade, exactly as they always have been.
The distinction between stage mics and studio mics has always been a porous one, and even in their TG incarnations, many of the M Series mics were popular choices for recording. The M 88 was Phil Collins’ vocal mic of choice, Phil Ramone used an M 160 to track Billy Joel’s singing on numerous hits, and countless instruments have made their way to tape through one or other of these mics.
In recognition of this, beyerdynamic have now refreshed and re‑branded the M Series. The microphones themselves are unchanged, but they’re no longer being marketed primarily at live sound applications. The M Series mics are now being positioned primarily as studio tools, with smart new paint jobs to suit. So this seems a good time for a very belated Sound On Sound review!
M & Ms
There is a total of seven microphones in the M Series. The odd one out is the MM 1, an omnidirectional back‑electret microphone intended primarily for measurement. This is equalised for a flat response in the diffuse field, so exhibits a high‑frequency boost when used close up on‑axis, and a flat response at 90 degrees off‑axis; you can request on‑axis and 90‑degree off‑axis calibration files for your individual mic free of charge from beyerdynamic. However, as it uses a miniature capsule, self‑noise is sufficiently high that you probably wouldn’t choose it for typical recording tasks.
The other two capacitor models, by contrast, are right at home in the studio. They are the MC 930 and MC 950, both true‑capacitor, small‑diaphragm ‘pencil’ mics. These are identical in many ways, and both have a switchable high‑pass filter and 15dB pad, engaged using recessed slide switches on the side of the body. The key difference is that the MC 930 is cardioid and the MC 950 is supercardioid — they are not modular, so the capsules cannot be swapped around. The MC 930 is available as a matched pair, but not the 950.
The M Series also includes two moving‑coil dynamic microphones. The M 201 and M 88 are both hypercardioid models, and on paper, they have similar specifications. In practice, as we’ll see, they are quite different. The M 88 is a large and rugged mic with a relatively broad diaphragm, surrounded by a strong mesh headbasket. The M 201 more closely resembles the MC pencil mics, and has an unusually small capsule.
Last, but very much not least, are the two passive ribbon mics in the range. The M 160 and M 130 are the oldest designs in the M Series, and they’re still unique even today thanks to the ‘double ribbon’ technology pioneered by beyerdynamic back in the ’50s. By stacking two ribbons on top of one another, the designers were able to miniaturise the ribbon motor whilst retaining a decent level of sensitivity. As well as being unusually compact, the M 160 is also notable for being one of the very few ribbon mics that doesn’t have a figure‑8 pickup pattern.
Ready To Rock
All of the M Series microphones are supplied with individual frequency response measurements, and come in smart, tough and practical carry cases. These are lined with very rigid foam, which houses the mics and their clips in shaped cut‑outs. Whether or not they are marketed at live sound, I’d certainly have no qualms about taking these on the road.
If you buy any of the mics individually, the only included accessory is a simple but robust clip. The MC 930 Stereo Set, however, comes with foam windshields for both mics, and larger clips that incorporate an elastic shockmount. Placing the mic into the shockmount can be a bit awkward, but it seems an effective design. You don’t get a stereo bar, though.
There’s a pleasing visual continuity between all the mics in the refreshed M Series, with all the bodies finished in matte black and details such as grilles and logos showing up contrasting silver‑grey. As you’d expect, build quality is exceptional, and there’s a real sense of ruggedness about even the capacitor and ribbon mics. None of them is the cheapest mic of its type on the market, but they’re all long‑term investments that are built to last.
In fact, if anything is likely to hold back sales of the new M Series, it’s the durability of the existing models! My own M 88 and M 160 are at least 35 years old and are still going strong, as indeed are several other, now‑discontinued beyerdynamic mics in my cupboard. It was interesting to compare them against the box‑fresh versions supplied for review. Apart from minor cosmetic variations, I couldn’t detect any change at all in the construction of the mics, which is just as reassuringly solid now as it was in the ’80s. And sonically, the only obvious difference was that my M 160 had lost some sensitivity over the years. Given that it’s never been re‑ribboned and hasn’t exactly been babied, that’s pretty impressive.
Dynamic Variations
As I’ve already mentioned, the M 201 and M 88 have specifications that are quite similar on paper. Both have a tight and well‑controlled hypercardioid polar pattern, and the overall frequency response looks much the same, with a broad presence boost starting from about 1.5kHz and extending all the way up to 15kHz. Being hypercardioid, both exhibit considerable proximity effect; used up close, you’ll see a hefty boost in the lows and low mids, and even at 1m, the M 201 is flat down to 100Hz. This beefy bass response has made the M 88 a popular choice for use in kick drums, and it’s long been my favourite mic in this role. It should be pointed out, though, that beyerdynamic recommend using a windshield when miking bass drums, which is not supplied — anecdotally, long‑term kick drum use can lead to loss of bass response otherwise. The M 88 is equally capable anywhere you need a close‑up mic to capture a solid, punchy sound: guitar and bass cabinets, for example, or shouty vocalists.
The M 201 belongs to that exclusive school of dynamic mics that think they’re capacitor mics.
The M 201, by contrast, belongs to that exclusive school of dynamic mics that think they’re capacitor mics. Its small diaphragm means it’s a fair bit less sensitive than the M 88, but endows it with a transient response and high‑frequency extension unusual for a moving‑coil mic. You perhaps wouldn’t choose it over a KM84, but it certainly stands up against pencil mics in the same price range, whilst remaining eminently usable in most of the roles where dynamic mics are usually preferred: snares and toms, guitar amps, and so on. If your preamp has sufficient gain, the M 201 is also a very nice mic for spoken word, though it’s quite susceptible to popping without a windshield.
Stereo MCs
Talking of KM84s, the beyerdynamic MC 930 is sometimes spoken of as a modern alternative to the Neumann classic. This was one of the M Series mics I hadn’t previously used, so I was interested to put it up against my own KM84. The Stereo Set was supplied for review, and the individual measurements supplied for the two mics were extremely close, with both exhibiting the same sensitivity of 27.8mV/Pa, and a frequency response that was almost identical. Measured at 1m, both mics showed a 5dB peak at around 12kHz and a very gentle roll‑off in the bass; the only identifiable difference between the two was a dB or so’s variation around 7kHz. The supercardioid MC 950 actually measures a little flatter, with a much smaller peak at around 10kHz balanced out by an equally small dip at 6kHz.
The MC 930 Stereo Set includes windshields and shockmounts.
In comparison with the KM84, the overall effect was not so much of a brighter mic as of one with a slgihtly less mid‑focused sound. On acoustic guitar, the KM84 was more solid and chunky, the MC 903 a bit more airy. On drums, the MC 930 sounded less brash, without the 84’s presence lift in the 5‑6 kHz region; its 12kHz peak added some gloss to the cymbals, and it was perhaps a touch less weighty on the kick drum. I suspect that some of these differences may be due to the fact that the MC 930 and 950 are transformerless, whereas the KM84 has an output transformer. At any rate, the MC 930 is not overly sharp‑sounding, like some pencil mics can be, but detailed and precise, and well suited for all the roles where one might turn first to a small‑diaphragm cardioid mic: drum overheads, fingerstyle guitar, string quartet, and so on. The MC 950, meanwhile, is noticeably darker and smoother, and is a very good mic indeed — quite possibly the dark horse of the M Series range. It’s a shame that the MC range no longer includes the 910 omni mic, though. You would imagine that an omnidirectional mic with the same sort of price/performance ratio as the 930 would be a serious contender for classical recording, but perhaps the market decided otherwise.
Ribbons Return
The M 160 and M 130 are designed in part for use as an M‑S array.Finally, we have the unique M 160 and M 130. These are intended, among other roles, for use as a Mid‑Sides pair, and their small size makes it easy to mount them coincidentally. This is made even easier by the fact that they are the only ribbon mics I’ve ever used that don’t exert a noticeable magnetic pull on each other when placed close together. I am an unapologetic fan of coincident stereo techniques, including M‑S, and the two beyerdynamic ribbons are capable of stunningly precise stereo imaging when used in this way. The M 130 is slightly the more sensitive of the two, so on paper you’d probably want to apply slightly more gain to the M 160, but in practice I very much enjoyed the results I got from using them with matched gain settings.
Both mics also have numerous applications in their own right, and of course there would be nothing to stop you using two M 130s in a Blumlein configuration, or indeed a pair of M 160s as crossed hypercardioids. As measured at the standard 1m distance, the M 130 has one of the flattest frequency responses you’ll find in any ribbon mic from 100Hz to 8kHz or so, and either side of that, the roll‑off is smooth and gentle; it’s still capable of pulling in information at 20kHz. Being a figure‑8 mic, it naturally has tons of proximity effect too.
The M 160 has a slightly less flat response, with a broad presence boost centred around 6kHz, and a fairly sharp roll‑off below 150Hz compensated for by a gentle boost at 200‑300 Hz. High‑frequency extension is greater than on the M 130, and it’s only 5dB down at 20kHz. Again, these reflect the response at 1m, and in close‑up use you’ll encounter a hefty bass tip‑up which certainly won’t make it sound bass‑light.
Many a classic guitar sound has been tracked with an M 160, thanks to its ability to retain definition whilst taming harshness. Its four‑layer mesh grille makes it comparatively robust, and although you wouldn’t want to use it inside a kick drum, it’ll handle loud sources with aplomb. That midrange presence boost combined with its inherent smoothness also makes it a great choice for ‘plinky’ instruments such as banjo, mandolin and so on, and for close‑miking solo string instruments. The M 160 is also a very popular drum overhead mic, and John Bonham’s immortal part on ‘When The Levee Breaks’ was recorded using only a pair of M 160s.
Across The Board
There are very few lines of studio microphones that include equally capable moving‑coil, ribbon and capacitor models. Even beyerdynamic’s German competitors Neumann and Sennheiser don’t offer ribbons, while Rode’s otherwise comprehensive range doesn’t include dynamic instrument mics to compare with the M 88 or M 201. The only other manufacturer I know of whose range covers all the same bases is Audio‑Technica, another long‑established name with a commendably engineering‑led approach. And even then, several M Series models such as the M 160 and M 201 remain pretty much unique.
Fortunately, we don’t have to buy all of our mics from just one manufacturer, and there are still a few gaps in the M Series line‑up — it feels less complete without an omnidirectional pencil mic, and it’s a shame that the large‑diaphragm MC 740 and 840 studio mics have been discontinued — but there’s a reason why every studio on the planet you’ve heard of has multiple M Series mics in its locker. They sound great, they’re built to last, they’re surprisingly affordable, and they have the weight of history behind them. What more could you ask?
M Series Overview
| Model | Operating principle | Polar pattern | Price |
| M 201 | Moving‑coil | Hypercardioid | £280.54 |
| M 88 | Moving‑coil | Hypercardioid | £399.00 |
| M 130 | Ribbon | Figure‑8 | £803.03 |
| M 160 | Ribbon | Hypercardioid | £708.46 |
| MC 930 | Capacitor | Cardioid | £613.88 |
| MC 930 | Stereo Set Capacitor | Cardioid | £1228.69 |
| MC 950 | Capacitor | Supercardioid | £613.88 |
| MM 1 | Electret capacitor | Omnidirectional | £216.67 |
Pros
- Built to last.
- All the M Series models sound great and together they cover a huge range of applications.
- Very reasonably priced given the quality on offer.
Cons
- There is no longer an omnidirectional counterpart to the MC 930 and 950.
Summary
If it can’t be miked successfully with one of beyerdynamic’s M Series microphones, it probably isn’t worth miking.
Information
See ‘M Series Overview’ box.
Polar Audio +44 (0)1444 258258
See ‘M Series Overview’ box.
beyerdynamic USA +1 631 293 3200
