Ribbon mics are fine, you are right.
But they are more delicate and easier to damage than a dynamic. Even condensers are a bit more hardy. I thought that was made clear. It is true that they have toughened up somewhat; but still the easiest to become a casualty if one doesn't treat them with kid gloves. If you treat your gear as well as I do, then it should be just fine - barring the unseen accident.
The problem that I have with your point, is that having ANY peak from a mic is a bad thing. Why? Because getting the response as flat as possible before tweaking means that less EQ change is necessary to find that sweet spot. In addition, the sound is far more natural when starting from a neutral point of reference. Keep in mind that you only have ~5khz of audio in which to get the most detail that you can at best; don't waste it on color. Just pointing out a factor that one should be wary about - is all.
That is why I use a condenser mic, and prefer it. Mic audio 'color' is something to be avoided. Becaue if your voice falls within that color range, it will be hard to make it sound as natural, since there is an abundance of that color already in that mic. Otherwise, one might as well just go ahead and use an Astatic D-104, which already has too much color of its own and has really very little chance to become neutral before EQing it. Not saying that your ribbon sounds like a D-104, just making the point that detail in a narrow bandwidth situation can be tricky and hard to optimize if the basic rules aren't observed.
EQing a neutral/flat response mic makes a difference. The mic is not about making the audio loud; it is about rendeing the sound of a person as if they were standing next to you with only minor enhancements to EQ, as you know. If loudness is one's only reason; then don't bother. You have missed the boat altogether, just get a D-104. EQing with the EQ that a mixer provides is also useless. You can never find the best sound that way. Never happen. The best way is with a parametric EQ; in a far second place the 31 band is next. Your spending for your project has also exceeded the budget that I proposed, and that is only too easy to do.
For those readers who are just reading about all of this - loudness is after the mic is made to ones tastes, so long as distortion is kept out of the picture. Always best to check it with a scope - to be certain. The real problem is getting the radio to allow a bit more bandwidth to milk more detail. We are talking about minutiae here, and the point is to get the concepts right before we start accumulating the equipment.
Your mic will be fine; not saying that it won't. But some detail was lost in order to boost; not such a big deal nor a deal breaker. Not a major problem unless you are recording. I'm sure you are happy with it. There are a number of people that use them and I think they have done a very fine job with them. Remember, this is all still much better than a stock mic, or a radio that is splattering across twenty channels due to over-modulation. No comparison.
Had to clarify some of your points for the readers; so don't think I was referring it all to you. I wasn't
BTW - MXL has also included a new lineup of broadcast mics. Both dynamic and condenser models. I thought that their version of the RE20 was all right for a dynamic; but I preferred the condenser as usual:
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