Royer Labs R-121 - Manual (Page 7)

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 emulates the performance curve of a condenser mic with excellent results.
This is not to say that a ribbon microphone can substitute for a quality condenser mic in all cases,
but the EQ friendliness inherent in ribbon microphones does allow for an enormous amount of
flexibility.
Ribbon mics take EQ so well because of their inherent low self-noise, unusually smooth
frequency 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 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, but
complete isolation is impossible and the result can be hum or buzz. Ribbon microphones can
potentially manifest this condition to a greater degree because of their higher gain requirements.
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.
The Sweet Spot
Finding and Working with the Sweet Spot
Good engineers know the benefits of finding and working with the “sweet spot.” The sweet spot
will be defined as the optimum placement (working distance and angular position) of any
microphone relative to the sound source.
Each microphone has its own sweet spot whether it is a ribbon, dynamic or condenser type. The
sweet spot will vary with the type of sound source and its volume intensity, the polar pattern of
the microphone and how consistent it is with frequency, and the acoustic environment.
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