HDR-1

Recommended use e.g. nylon strings, room mics, overheads, darker mic on guitar cabs, in front of a kick drum (handles high SPL pressure unlike older vintage ribbon mics), double bass, horns, old school vocals (BBC radio), acoustic instruments etc. The double ribbon delivers a close, warm and vintage unique reproduction concentrating on the mid to low frequencies. (see website for quotes and endorsements). Higher frequencies can be boosted using a quality eq. A perfect compliment to the HDV-1.

NOTE : Always use a pop shield and avoid shocks and blows to
the HDR-1. Ribbons are VERY fragile. Store in upright position.
DO NOT USE PHANTOM POWER ON YOUR HDR-1
Specifications:
Dual 2 microns thick ribbons
Polar pattern is fig. 8
Frequency Response is 30 ~18KHz (±3dB)
Recommended load impedance is 1000 Ohms
Max.SPL (1%THD @ 1000Hz ) is 165dB

A ribbon microphone is a type of dynamic microphone that uses a thin
aluminum or duralum ribbon placed between the poles of a magnet to
generate voltages by electromagnetic induction. Ribbon microphones are
typically bidirectional, meaning they pick up sounds equally well from
either side of the microphone.

In the dynamic microphone, the diaphragm is attached to a light
movable coil that generates a voltage as it moves back and forth
between the poles of a permanent magnet.

In ribbon microphones, a current is induced at right angles to both
the ribbon velocity and magnetic field direction. As the sound wave
causes the ribbon to move, the induced current in the ribbon is
proportional to the particle velocity in the sound wave. The voltage
output of older ribbon microphones is typically quite low compared to
a dynamic moving coil microphone and a step-up transformer is used to
increase the voltage output and increase the output impedance. Modern
ribbon microphones do not suffer from this problem due to improved
magnets and more efficient transformers, and have output levels that
can exceed typical stage dynamic microphones.

Ribbon microphones have usually been delicate and expensive, but modern

materials make present-day ribbon microphones durable enough

for loud rock music and stage use. They are prized for their sound reproduction

comparing very favorably with condenser microphones, which can often

sound subjectively "aggressive" or "brittle" in the high end of the frequency spectrum.

Due to their bidirectional pickup pattern, ribbon microphones are often used in pairs to

produce the Blumlein Pair recording array.

One of the first ribbon microphones was the RCA PB-31. Produced in
1931, it was a breakthrough technology in sound, and revolutionized
the recording and broadcast industry, setting a new standard in
frequency response. The clarity and realism were unmatched by any of
the condenser microphones of its day.

As many mixers are equipped with Phantom Power in order to enable the
use of condenser microphones, care should be taken when using
condenser and ribbon microphones at the same time. If the ribbon
microphone is improperly wired, which is not unheard of with older
microphones, this capacity can damage or destroy a ribbon microphone.

ALWAYS USE A POP SHIELD

Store the microphone upright only, and avoid blasts of air of any kind.