unwanted distortion due to overloading, even if the pad were used. Although this is rarely an
issue, we felt that it was important to cover the subject.
In conclusion, preamplifier coloration is optional and a matter of personal taste. Some people
love the effect of coloration while others strive for absolute transparency.
Equalization & Ribbon Microphones
One of the great strengths of ribbon microphones is how well they take EQ. Even with
substantial amounts of equalization, ribbons retain their natural, “real” quality. For example,
when a lead vocal is being performed on an R-122, you can actually boost upper-end frequencies
to the point where the R-122 emulates the performance curve of a condenser mic with excellent
results. This is not to say that ribbon microphones can replace quality condenser mics in all
circumstances, but the EQ friendliness inherent in ribbon microphones does allow for an
enormous amount of flexibility.
The reason that ribbon mics take EQ so well is their inherent low self-noise (less than 15dB),
unusually smooth response characteristics, and freedom from off-axis coloration. Dialing in high
amounts of equalization on condenser or dynamic microphones brings up equal amounts of the
microphone’s distortion products and noise; garbage that contributes to an unnatural, unpleasant
sound. Because distortion and self-noise are almost nonexistent in ribbon microphones, high
levels of EQ can be used without adding harshness or excessive noise.
Hum, Noise & Mic Orientation
All dynamic microphones, including ribbons, are electromagnetic devices and are, to some
degree, susceptible to picking up stray alternating magnetic fields. Power transformers (such as
those found in guitar amplifiers) and alternating current motors are the most likely sources of
radiated noise. Building wiring and electrical utility transformers are other likely sources. A well-
designed microphone provides shielding to minimize the effects of stray magnetic radiation. In
some cases complete isolation is impossible and the result is usually hum or buzz. Passive ribbon
microphones can potentially manifest this condition to a greater degree because of their higher
gain requirements. Even an active ribbon microphone like the R-122 is not completely immune
to this phenomenon. Vintage ribbon microphones often have poor shielding and the problem can
be worse. The cure for this problem is to identify the source of the noise and move the
microphone away from it. Another trick is to alter the orientation of the microphone in such a
way that the noise is cancelled out. If you ever experience this situation while in the studio, try
rotating the microphone to identify the “null” point, then reposition the mic and the sound
source. This is much like having a guitar player with single coil pickups turn around until
amplifier hum disappears.
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