User's Manual

Description
The R-122V is a compact, active, bi-directional (figure-eight) velocity type tube ribbon
microphone designed for professional applications. The figure-eight pickup pattern allows the
R-122V to be addressed from either side with equal sensitivity. The in-phase signal is achieved
when the microphone is addressed from the front, indicated by the “ROYER” logo.
The R-122V is reasonably tolerant of shock and vibration, and performance is unaffected by
changes in temperature or humidity. However, ribbon microphones are somewhat more sensitive
to direct blasts of air and the R-122V is no exception to this rule. Discretionary use of a
windscreen or pop screen, such as the Royer PS-101, WS58 or equivalent, is highly
recommended for close-miking vocalists or certain types of percussion and wind instruments.
Applications
The Royer Labs model R-122V is a versatile microphone and is ideally suited for many critical
recording applications. Its smooth frequency response characteristics and ability to capture detail
make it a fine choice for many instruments, as well as for general broadcast applications. Its
gentle low-frequency proximity effect makes it especially useful for vocalists and announcers.
Female vocalists often benefit from the R-122V’s ability to capture high frequencies without
distortion or edginess. Orchestral instruments are captured in a natural-sounding way, free from
microphone-induced “hype.” The R-122V has exceptionally smooth high frequency
characteristics and is devoid of microphone induced ringing. Phase-related distortion and
irregular frequency peaks are conspicuously absent. These features make the R-122V vacuum
tube ribbon microphone an ideal choice for strings, woodwinds, percussion and amplified
instruments. Theater organs and electric guitar amplifiers sound big and fat, without unnatural
coloration, when recorded with the R-122V. Acoustic pianos can be captured accurately without
the comb-filtering effects associated with condenser microphones.
Ribbons in the Digital World
Digital recordings benefit greatly from the properties inherent in ribbon microphones. Since A to
D converters cannot distinguish between the sound source being recorded and the complex
distortion components often associated with condenser microphones, they sometimes have
difficulty tracking the signal, resulting in ringing and edgy-sounding tracks. With quality ribbon
microphones, ringing is almost nonexistent due to the ribbon’s lack of distortion artifacts and
high frequency peaks. A to D converters have less difficulty tracking the ribbon-generated signal,
resulting in very smooth digital recordings free of microphone-related edginess.
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