User's Manual

Several performers can be grouped at both the front and back of the microphone, with one
proviso: since the outputs are out of phase at the front and back of the microphone,
cancellation can result if, for example, two tenors are placed at opposite sides at equal
distances and they are singing in unison, so listen to the feed before committing to it.
3. When using the R-122V to record loud signal sources, placing the microphone slightly off
axis relative to the signal source (either horizontally or vertically) minimizes the effect of
high pressure sound levels displacing and possibly damaging the ribbon element.
4. Always provide adequate protection for your R-122V, or any ribbon microphone. If the
microphone is to remain set up on a stand when not in use, place a “mic sock” (supplied with
every Royer microphone) over it until it is to be used. Do not carry the microphone around
without placing a mic sock over it. Failure to follow this commonsense practice may yield a
stretched ribbon and compromised performance.
5. Do not allow the microphone to be dropped on hard surfaces such as floors or tables -
depending on how the mic falls, the ribbon could be stretched. The microphone would likely
continue to operate, but performance could be compromised and re-ribboning the
microphone would be necessary to restore normal operation.
Amplification Considerations
Almost any quality microphone preamplifier with nominal gain characteristics will give excellent
results with your R-122V vacuum tube ribbon microphone. Unlike standard ribbon microphones
that require a proper impedance match to deliver optimal performance, the input impedance of
your preamplifier will have minimal affect on the R-122V’s operational performance because the
ribbon element is loaded perfectly via the microphone’s electronics package. However,
preamplifier impedances below 2,000-ohms will impair headroom.
Careful consideration should be given to the quality of the microphone preamplifier. Studio-
grade preamplifiers generally sound much better than cheap ones. Headroom, noise floor,
transparency and coloration are all factors to consider in determining which preamplifier is most
suitable for your studio or live sound application. Other features are usually secondary and fall
into the category of conveniences or interface capabilities (such as digital or optical outputs).
A good preamplifier should sound natural, with no sign of edginess or excessive noise. Vacuum
tube preamplifiers sound warm, yet wonderfully airy and transparent. Do not expect a vacuum
tube preamplifier to be as quiet as a solid-state preamp, as electron emissions from tubes tend to
convey more “thermal” noise than transistors. Tube preamplifier noise is far less of an issue with
the R-122V than with conventional ribbon microphones because the R-122V’s high output will
largely override the noise. Transformer coupled designs tend to sound punchy and full-bodied
and offer the added benefit of true electronic isolation. This greatly enhances their ability to
interface with other equipment with minimal noise or hum. There are many excellent
preamplifiers on the market today. Choose one that fits your budget and offers good performance,
9