The KSM 313 is a groundbreaking ribbon microphone in both tone and design. For starters, it’s outfitted with the unique Roswellite ribbon technology, which essentially renders the ribbon element indestructible. This quality eliminates any hesitation of using it on high SPL sources (ex: cranked bass or guitar cabinets) or applications with large bursts of wind (kick drum), in turn giving you more source flexibility and creative control.
Along the lines of flexibility, the 313 exhibits a “dual-voiced” design, meaning the front and rear lobes each offer their own distinct tone. While this isn’t completely unique to the 313 within the ribbon world, I find the difference between the two tones to be more noticeable than other ribbons with this feature (check out our video specifically highlighting the 313’s dual-voicing to hear for yourself). In general the rear lobe offers a more present and open top-end which I’ve found to be ideal for vocals, acoustic guitars, and darker guitar amps. The front lobe is darker and more in line with a “traditional” ribbon tonality, so great on brighter sources where you’re looking to tame and smooth out some of that extra top-end.
In general, the tone of the KSM 313 has a more modern edge to it. Now, it’s still a ribbon mic so smoothness and the ability to take EQ very naturally come with the territory, however there is this subtle “jumping out at you” quality with the way it handles transients that really distinguishes it from other ribbons out there. It’s frequency response is very balanced for a ribbon, offering a controlled low-mid range and more high-frequency extension. To call it a more “mix-ready” ribbon would not be a stretch at all.
If you’re after a darker, more “traditional” ribbon tone, some of the other ribbon mics we carry might be more of what you’re looking for (specifically the
Royer R121 or
AEA R84). However if this is going to be your only ribbon mic, the versatility of the 313 makes it an absolutely fantastic choice.
