Amplification Considerations
Almost any microphone preamplifier, with nominal gain char-
acteristics and a built-in 48-volt phantom power source, will
give excellent results with your R-122 active ribbon micro-
phone. Unlike standard ribbon microphones, which depend on
a proper impedance match to deliver optimal performance, the
input impedance of your preamplifier will have minimal affect
on the R-122’s operational performance because the ribbon ele-
ment is loaded perfectly via the microphone’s electronics pack-
age.
Careful consideration should be given to the
quality
of the
microphone preamplifier. Studio-grade preamplifiers usually
sound much better than cheap ones. Headroom, noise floor,
transparency and coloration are all factors to consider in deter-
mining which preamplifier is suitable for your studio or live
sound application. Other features are usually secondary and fall
into the category of conveniences or interface capabilities (such
as digital or optical outputs).
A good preamplifier should sound natural, with no sign of edgi-
ness or excessive noise. Vacuum tube preamplifiers sound
warm, yet wonderfully airy and transparent. Do not expect a
vacuum tube preamplifier to be as quiet as a solid-state preamp,
as electron emissions from tubes tend to convey more “ther-
mal” noise than transistors. Tube preamplifier noise is far less
of an issue with the R-122 than with conventional ribbon
microphones because the R-122’s high output will override the
noise. Transformer coupled designs tend to sound punchy and
full-bodied and offer the added benefit of true electronic isola-
tion. This greatly enhances their ability to interface with other
equipment with minimal noise or hum. There are many excel-
lent preamplifiers on the market today. Choose one that fits
your budget and offers good performance, but remember that
you get what you pay for. If you have the opportunity to audi-
tion one or more preamplifiers before you buy one, do so.
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