royer R-121
, Operation Instructions Manual & User Manual

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mics because they are by nature warm and realistic sounding.
At this point personal taste should prevail over anything.
In conclusion, try to find the best preamp you can afford that
has good gain characteristics and low noise. Coloration is
optional.
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-121, you can actually
boost upper-end frequencies to the point where the R-121 emu-
lates the performance curve of a condenser mic with excellent
results. This is not to say that a ribbon microphone can substi-
tute for a quality condenser mic in all cases, but the EQ friend-
liness inherent in ribbon microphones does allow for an enor-
mous 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 also 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 electromag-
netic 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
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