GUITAR CAB DEMO
Hear it alongside an SM57 on guitar cabinet
Hakin Lee records a guitar cabinet with an SM57 and the NUDE Rectangular Ribbon through a Grace M101.
Matched Pair - NUDE Rectangular Ribbon Microphones w/Stereo adaptor bar
Two matched ribbons. One serious stereo setup.
Matched within ±2 dB and supplied with the NUDE Stereo Adaptor Bar, this package gives you the warm, natural and lusciously musical voice of the Rectangular Ribbon twice — with a robust one-stand platform for repeatable stereo positioning, plus two complete microphones you can still deploy independently.
Matched Pair - NUDE Rectangular Ribbon Microphones w/Stereo adaptor bar
Sale price$821.00 USD
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Matched + stereo-ready
Two microphones selected within ±2 dB, plus a robust one-stand stereo mounting platform.
THE MATCHED PAIR + BAR
Set the Geometry. Move the Whole Picture.
A matched pair turns the warm, natural and lusciously musical character of the NUDE Rectangular Ribbon into a flexible stereo recording system. Selected within ±2 dB, the two microphones give you dependable left/right balance and a stable image while preserving the depth, body and human-ear realism that make the single Rectangular Ribbon so useful.
The NUDE Stereo Adaptor Bar makes that system faster to build and easier to repeat. Its 16 mm mounting threads and equidistant spacing points let you establish deliberate microphone relationships on a single stand, then reposition the whole array without losing the distance between the capsules. That means fewer stands around the performer, a cleaner floor plan and quicker recall when a session returns to the same setup.
With this figure-8 pair, the bar is especially useful for coincident Blumlein, crossed X/Y-style placement, controlled-spacing and parallel figure-8 arrays. Mid/Side remains available when a figure-8 Mid suits the source and room. Placement and mono checks still matter, but the bar gives you a solid, repeatable starting platform rather than two separate stands to keep realigning.
It also earns its keep beyond this pair. Use it with other compatible clips and suspension mounts to position a pair of condensers or dynamics, build an ORTF array with suitable cardioid microphones, or place two different microphones across an acoustic guitar, percussion setup or cabinet. It becomes shared studio hardware rather than an accessory tied to one recording technique.
And the microphones never have to stay on the bar. Split them across two sources whenever the session calls for independent spot duties; each remains a complete, transformer-isolated passive ribbon with published headroom above 145 dB SPL.
Repeatable stereo when you want it. Two distinctive ribbon microphones — and a useful studio tool — for everything else.
WE LOVE LISTENING
Headphones On — How It Sounds
Three real owner sessions reveal the voice of one Rectangular Ribbon. The matched pair and adaptor bar bring that same warm, natural character into repeatable one-stand stereo arrays — or split the microphones across separate sources.
FRONT-OF-KIT DRUMS
Hear the weight and character in front of a kit
Australian session drummer Robin Stone uses the Rectangular Ribbon out front for a deliberately dirty, lo-fi drum sound.
ONE-MIC ACOUSTIC
Hear the rounded body on acoustic guitar
Flat Jack’s Sound Shack puts one NUDE Rectangular Ribbon in front of an acoustic guitar for an intimate, well-rounded sound.
RECORDING APPLICATIONS
Stereo Techniques + A Better Studio Workflow
The matched microphones deliver the stereo image; the adaptor bar makes placement more repeatable, reduces stand clutter and remains useful with other compatible microphones long after this session is finished.
Spaced Pair techniques on one stand
Spaced pairs and compact coincident arrays that can be repositioned as one complete stereo picture.
Controlled-spacing arrays
Use the bar’s equidistant mounting points to build repeatable overhead, front-of-kit or room spacing with fewer stands around the performance area.
Hear the ribbon characterMid/Side recording
Use one figure-8 microphone as Mid and the second at 90° as Side, then decode in the mix for adjustable width and a solid centre.
Parallel figure-8 arrays
Set a consistent distance between the two ribbons for focused width, strong lateral rejection and a repeatable relationship between source and room.
Hear the acoustic characterOne-stand acoustic arrays
Place two microphones across body and neck, direct and room, or two instrument zones — then move the complete relationship without rebuilding it.
Two independent spot mics
Take the pair off the bar and split it across cabinets, voices, horns, percussion or any two sources that benefit from smooth ribbon tone.
Metallic strings + resonators
Record banjo, mandolin, resonator, steel-string and bottleneck blues slide in stereo or use the microphones separately to tame brittle edges.
A bar for the wider mic locker
Use compatible clips and mounts to position other microphone pairs, create ORTF with suitable cardioids or build mixed-mic arrays elsewhere in the studio.
THE NUMBERS
A Matched Pair Built for Stereo — and Real-World Sources
Selected within ±2 dB, with two asymmetrical figure-8 microphones, transformer-isolated outputs and more than 145 dB of published headroom per mic.
Matched pair tolerance
Closely matched output levels support dependable left/right balance and a stable stereo image.
Stereo-ready ribbon voices
Use them together for multiple stereo arrays or separately as two complete mono microphones.
Maximum SPL
Published headroom for guitar cabinets, brass, drums and other loud sources.
Frequency response
Full low-frequency reach with the smooth high-frequency character expected from a ribbon.
GO DEEPER
Per-Microphone Specifications & Frequency Response
View the full technical specifications
- Polar pattern
- Asymmetrical figure-8
- Generating element
- Dual-ribbon aluminium, 1.8-micron
- Frequency response
- 30 Hz–16 kHz ±3 dB
- Sensitivity
- > -50 dBu ref. 1 V/Pa
- Output impedance
- 250 Ω @ 1 kHz nominal, transformer isolated
- Rated load impedance
- > 2000 Ω
- Maximum SPL
- >145 dB @ 0.5% THD @ 1000 Hz
- Signal-to-noise
- 70 dB ref. 1 Pa
- Output connector
- Male 3-pin XLR
- Power
- Passive ribbon microphone; phantom power is not required and should be switched off
View the Rectangular Ribbon frequency response
Published frequency response for each NUDE Rectangular Ribbon microphone.
EVERYTHING IN THE BOX
Two Complete Microphone Kits + Stereo Hardware
Two matched NUDE Rectangular Ribbon microphones, two fitted blond-wood presentation cases, two proprietary suspension mounts and the NUDE Stereo Adaptor Bar.
Two matched Rectangular Ribbons
A pair selected within ±2 dB, with each passive microphone built around dual 1.8-micron aluminium ribbons and an asymmetrical figure-8 pattern.
Two blond-wood presentation cases
Each microphone has its own fitted wood case for protected storage and transport between sessions.
Two suspension mounts
One proprietary rectangular suspension mount per microphone supports secure stand placement while helping isolate mechanical vibration.
NUDE Stereo Adaptor Bar
A robust one-stand platform with 16 mm mounting threads and equidistant spacing points for deliberate, repeatable stereo and multi-microphone placement.
FROM NUDE OWNERS
Matched Pairs Already Working in Real Studios
Owners using one, two or returning for a second Rectangular Ribbon consistently describe warmth, smoothness, useful rejection and a character that works across entire sessions.
We used the Rectangular Ribbon as a violin and viola mic and for a gentle a cappella vocal. It was lovely on both — warm and smooth, and it tamed a quite sibilant vocal very well. I fancy getting another one.
I got a pair. I use them for vocals and drums, but they’re ribbons, so you can use them on a loud amp or a ukulele.
I decided to get a second one because it is unique and there isn’t anything as wonderful sounding anywhere near this price point. These dual ribbons are breathtakingly accurate — at a fraction of the cost of the big guns.
I put a spaced pair of NUDE ribbons at the tail of a Steinway grand and aimed the null points at the drums. The ribbons had way less drum bleed — and the piano sound was world class.
I really dig the NUDE ribbon. It tames the fundamentals of my voice and has a nice natural roll-off in the top end.
Absolutely loving these new ribbon mics. Sounding awesome on guitars and vocals… Highly recommend these mics.
GOOD TO KNOW
Matched Pair + Stereo Adaptor Bar FAQs
The practical questions that come up before you put two passive ribbons — and a shared mounting platform — into a stereo or multi-source session.
Do the matched Rectangular Ribbons need phantom power?
No. Both are passive ribbon microphones, so phantom power is not required. Best practice is to switch phantom power off on both channels and use properly wired balanced XLR cables.
Will I need two preamp channels?
For stereo recording, yes: each microphone needs its own clean preamp or interface channel. Passive ribbons are naturally lower-output than condenser microphones, so around 60+ dB of clean gain is a useful starting point for quieter sources. Loud guitar cabinets, drums and brass need much less. When using the microphones independently, you only need a channel for each mic in use.
What does the Stereo Adaptor Bar add?
It places both microphones on one stand, gives you equidistant mounting points for deliberate spacing and lets you reposition the complete array without changing the relationship between the microphones. That reduces stand clutter and makes a successful setup easier to repeat. It does not replace careful listening, measurement or mono-compatibility checks.
Which stereo configurations suit this pair and bar?
The figure-8 pair is well suited to coincident Blumlein, crossed X/Y-style placement, Mid/Side when a figure-8 Mid suits the source, controlled-spacing and parallel figure-8 arrays. The bar provides the shared mounting platform; the source, room and desired stereo perspective determine the final angle and distance.
Can I use the bar with other microphones?
Yes, with compatible clips or suspension mounts. Its 16 mm mounting threads and adjustable spacing make it useful with other microphone pairs, including ORTF with suitable cardioids, or with two different microphones across an instrument or cabinet. Always confirm thread compatibility, secure mounting and sensible total load before use.
Can I still use the microphones separately?
Absolutely. Each Rectangular Ribbon is a complete mono microphone. Remove them from the bar and split the pair across two guitar cabinets, voices, horns, percussion instruments or any other sources that benefit from a warm, natural and musical ribbon presentation.
How should I store and care for the pair?
Keep both microphones dry and protected from dust, moisture and strong air movement. Do not blow into them or place them in front of direct air blasts. Avoid drops and use phantom power switched off. Upright storage cannot hurt, but normal protected storage is suitable for well-built modern ribbons.
READY WHEN YOU ARE
Put the Pair — and the Whole Array — to Work
Blumlein. Mid/Side. Controlled spacing. Repeatable one-stand arrays. Or two independent ribbon voices — a matched pair and adaptable studio hardware that keep moving with the session.
$821.00
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