I also had good results using the Fat Head II A/P on the body along with a Neumann KM-86i on the neck. The review mics arrived the week before a multi-day tracking session at Dark Horse Recording in Franklin, TN. Most would agree that getting the transformer upgrade is a worthwhile option as well. 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. To simplify, the active mode is more transparent where the passive mode allows the character of a mic pre to speak through the mic. 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 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. I've paired them up with my Great River MP2NV, True Systems Precision 8, and Neotek Series 1E. The heart of the Fat Head II A/P is a 99% pure aluminum, 2.5 micron, 1 3/4-inch (L) X 3/16-inch (W) hand-tuned ribbon, the same ribbon as in the Fat Head and the Fat Head II. Update my browser now, By Russ Long 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? I'm pretty happy with the sounds I'm getting. 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. When you buy products through links across our site, we may earn an affiliate commission. 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. 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 guess if I had to choose now, I would get a pair of the normal fat heads. 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. Frequency Response - Bidirectional Click Graph to … The mic has a figure 8 polar pattern and 135 dB maximum SPL. This sounds more complicated than it is and can actually be done fairly quickly. I smile every chance I get to use them. 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. 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. The difference between the two is only the shape of the grille (i.e. 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. The mic does a great job capturing percussion. 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. In passive mode, the frequency response is 60Hz to 13 kHz +/- 3 dB with sensitivity of -56 dB +/- 2 dB (0 dB=1V/Pa). According to Cascade's own website, the Fat Head II differences are: I have a pair of stock 2. 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. 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. While ribbon microphone manufacturers have been offering active versions of many of their microphones for some time now, Cascade takes this concept a step further by offering an Active/Passive version of the Fat Head II, allowing the user to configure the microphone as either an active or passive transducer with the flick of a switch. Hey there! Specifications. I was introduced to the Cascade Fat Head mic over half a decade ago and since then I’ve been convinced that they hold the reins in the low-cost yet fine sounding ribbon mic market. 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. On the Cascade website, the frequency response for the original ones looks better, but a better built mic would be useful as well. The Cascade Microphones Fat Head II is also known as: Fathead II. Must say I'm really enjoying them. also, if anyone has any personal experience with these mics, I would like to hear what you think. 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. 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. During the tracking session, I used the mics in active mode along with a Hardy M-1 mic pre and a pair of Empirical Labs EL-8 Distressors to capture the drum room and had wonderful results; the stereo track added the perfect amount of punch and ambience to my drum tracks.