User's Manual

but remember that you get what you pay for. If you have the opportunity to audition one or more

preampliﬁers before you buy one, do so. Microphones and preampliﬁers work together like a

team and some are better matches than others.

The R-122V vacuum tube ribbon microphone is capable of substantial output signal, especially if

used in conjunction with very loud signal sources such as guitar ampliﬁers. It is therefore

recommended that the microphone preampliﬁer have a switchable pad to prevent the possibility

of overloading the preampliﬁer’s input stage electronics. Some preampliﬁers are more

thoughtfully designed than others, and a suitable pad will be provided before the active

electronics, not incorporated into a “feedback loop” as with some cheaper models. Even with the

pad engaged, a poorly designed preampliﬁer can still produce unwanted distortion due to

overloading.

With variable input impedance preampliﬁers, a good rule of thumb is to set the Z-switch for the

highest input impedance.

In conclusion, preampliﬁer coloration is optional and a matter of personal taste. Some engineers

enjoy 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-122V, you can actually boost upper-end

frequencies to the point where the R-122V 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.

Ribbon mics take EQ extremely well due to 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 quality 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 EMF (electro-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

severe cases complete isolation is impossible and the result is 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-122V 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

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