ROYER Labs Model R-122V Vacuum Tube Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A.
TABLE OF CONTENTS Model R-122V Vacuum Tube Ribbon Microphone Revised August 2006 Introduction Active Ribbon Technology Description Applications Ribbons in the Digital World User Guide Power Supply Input Module Operation Amplification Considerations Equalization & Ribbon Microphones Hum, Noise & Mic Orientation The Sweet Spot Other Types of Microphones Proximity Effect & Working Distance Microphone Technique Recording Loud or Plosive Sounds Stereophonic Microphone Technique Specialized Recording Techniques
Introduction R-122V Vacuum Tube Ribbon Microphone Congratulations on your purchase of a Royer model R-122V vacuum tube ribbon microphone. The R-122V is a handcrafted precision instrument capable of delivering superior sound quality and exceptional performance. The R-122V represents a new level of performance for ribbon microphones, combining sophisticated technological advancements with old-world craftsmanship.
Active Ribbon Technology Royer Labs pioneered the first active ribbon microphones with the introduction of the R-122 in 2002. The R-122 is a solid-state microphone that operates from standard 48-volt simplex power. The development of that microphone was the result of several years of effort that actually began with our developing several vacuum tube versions first.
and detail, and a lushness that is hard to describe. The R-122V also has an enormous amount of headroom available, making it useful on extremely loud applications. Phantom powered microphones are limited with regard to maximum headroom as a result of the phantom power source. With the vacuum tube design, greater headroom is achievable because the voltage source is supplied by a dedicated power supply. The vacuum tube operates with a supply voltage greater than twice that of a phantom powered microphone.
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 inphase 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.
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.
The microphone must be plugged into the power supply via the 7-pin cable before the supply is turned on. Do not operate the power supply without the microphone connected! 1. Always be certain that the correct microphone cable is used with the microphone, and that the cable is in good serviceable order. The R-122V uses a 7-pin cable configuration that provides the tube's working voltages and carries the audio signal to the preamplifier.
5. When disconnecting the microphone, bring the channel fader down, turn the R122V's power supply OFF and unplug the microphone cable from the power supply. 6. If the studio has the microphone lines brought to a patch bay (tie lines), never crosspatch a microphone line when phantom is applied or the monitor volume is raised. This could cause damage to your monitor speakers or, if passive ribbon microphones are involved, it could cause ribbon failure.
The fuses are located inside two carriers, each marked with an arrow pointing to the right. These carriers can be pulled out with the tip of a screwdriver blade or a pair of needle nose pliers (image 4). Once the carriers are removed, the fuses can be pulled out with your fingers. Replacing the fuse carriers is the reverse of removal. They can only be inserted with the arrow facing to the right and they should go in very easily.
with a small pair of needle nosed pliers or the thumb and forefinger (image 5). Rotate the drum for the desired voltage so that the selected voltage will appear in the window of the module (image 6). Gently push the drum back into position and close the door. The door will snap shut when fully closed. It is important to note that changing voltage settings also requires changing the fuses to different values. The correct values can be found in the specifications section of this manual.
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.
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 fullbodied and offer the added benefit of true electronic isolation. This greatly enhances their ability to interface with other equipment with minimal noise or hum.
results. This is not to say that ribbon microphones can replace quality condenser mics in all circumstances, but the EQ friendliness inherent in ribbon microphones does allow for an enormous amount of flexibility. Ribbon mics take EQ extremely well due to their inherent low self-noise (less than 15dB), unusually smooth response characteristics, and freedom from off-axis coloration.
induced noise can effectively be eliminated in cables simply by moving the cable away from the offending source. The Sweet Spot Finding and Working with the Sweet Spot Good engineers know the importance and benefits of finding and working with the “sweet spot” of a given microphone. The sweet spot is usually defined as the optimum placement (working distance and angular position) of any microphone relative to the sound source.
2. Frequency response variation due to treble losses as a result of absorption and “narrowing” of the pattern at high frequencies, causing weakening of highs as the microphone is moved away from the sound source. 3. Variation in ratio of direct to reverberant sound. Tendency of a microphone to favor the nearest sound source due to a combination of these items, plus the influence of the inverse square law.
to proximity effect) can be turned to an advantage. If an instrument, such as a trumpet, is extremely close-miked and the bass is cut to restore flat response, unwanted low-frequency sounds are cut back by upwards of 20dB compared to an unequalized microphone with a flat response. This discrimination is independent of the microphone’s polar response. Typical relationship of microphone distance to frequency response for ribbon-velocity bidirectional microphone.
Microphone Technique General Tips for Using the Royer R-122V The following are good basic starting places for recording with the R-122V. These positions are known to produce good results, but experimentation is the key to getting the most out of your recordings! Photographs of many of the following techniques can be found at royerlabs.com. Brass Instruments and R-122V go together very well.
Since guitar amplifier speakers are often beamy, experiment with mic placement to find just the right spot. Placing the mic at greater distances from the speaker cabinet adds more room ambience to the mix. You will find that the R-122V does not add undesirable elements to the sound. Basically, what you hear at the amp is what you get in the control room and in your recordings. Choirs and Orchestras can be picked up well using a pair of R122V's.
harmful air currents. One way to determine if the air pressure is excessive is to place your hand in front of the sound source (the kick drum, the guitar cab, etc.) and see if you can feel actual air movement. If you feel air movement, do not put your ribbon microphone there.
2. Example of Horizontal PositionTechnique Angling the microphone slightly will minimize stressing the ribbon. Due to the microphone’s pick-up pattern, sound will not be affected 3. Side View of Kick Drum miking Technique A) Close miking - angle mic so that pressure wave iss off-axis B) Standard miking position 4.
Stereophonic Microphone Technique Classic Blumlein Technique For many years, several “coincident” microphone setups have been widely used for picking up sounds in stereo as naturally as possible. The “Blumlein” technique, named for A.D. Blumlein of England, involves the use of two figure-eight microphones positioned as in the sketch (see Figure 1), so that one faces left and the other right, at an angle of 90º (i.e. each displaced 45º from center).
Mid-Side (M-S) Technique In the early days of stereo radio broadcasting, the mid-side recording technique was developed to allow for 1) simultaneous stereo and mono feeds from the same mic array and 2) electronic manipulation of the width of the stereo image. In M-S recording, one mic faces sideways, one faces forward as shown in Figure 2, and they are connected as shown in Figure 3.
If the outputs of the “mid” and “side” microphones are recorded on separate tracks, the electrical connections shown in Figure 3 can be made at the mixer outputs and the adjustment of the stereo separation can be done during mixdown, rather than during the actual recording.
phase polarity on your microphone preamplifier to achieve inphase recordings when tracking on the back side of an R-122V. Normal proximity effect (increase of bass), which is prevalent on the R-122V and all ribbon microphones, starts to occur normally at 4-6 feet from the microphone and increases with closeness. Vocalists and voice-over talents often work the microphone closely to take advantage of proximity effect, which gives an authoritative quality or rich texture to their voice.
2. Do not expose the microphone to direct blasts of air or strong air currents! Use a windscreen or suitable pop filter when close miking a vocalist or certain types of wind instruments. P-popping does not necessarily damage the ribbon element but may produce unacceptable preamplifier overload and could cause damage to speaker systems. 3. Do not expose the microphone to liquids or caustic smoke. 4.
Voltage Conversion The R-122V is energized from a dedicated power supply that operates from an AC voltage source. The supply can be configured to operate with the following voltages: 100-120 Volts 50-60HZ 220-240 Volts 50-60HZ Fuse Replacement The AC line fuse is located within the IEC power connector. Your power supply was shipped with a fuse rating suitable for the country in which it was sold. Should the fuse require replacement, two types are used.
Troubleshooting Most troubleshooting issues can be traced to some form of pilot error, so we'll cover the obvious first. If the microphone produces no output whatsoever, establish that the cables are properly connected and that none of the pins in the 7-pin cable-set are damaged, bent or missing. This also applies to the 7-pin male connector at the bottom of the microphone. Make sure that the power supply is connected and set to the proper voltage.
Features & Specifications R-122V Features: • Very high overload characteristics – maximum SPL greater than 135dB • Vacuum tube electronics offer greatly enhanced output and constant, optimized impedance to the ribbon element • Extremely low residual noise • Ribbon element is unaffected by heat or humidity • Absence of high frequency phase distortion • Excellent phase linearity – even off axis • Equal sensitivity from front or back of element • Consistent frequency response regardless of distance • Compact s
Mechanical Specifications High-grade Neodymium magnet assembly in Royer’s patented Flux-Frame 1.5” x 3/16” x 2.5 micron ribbon assembly Stainless steel internal baffle and dampener Dimensions: Microphone Weight: Power Supply Weight: Shipping Weight: Finish: 206 mm L x 25 mm W (8-1/8” L x 1” W) 10.2 oz, 290 g 3.5 lbs, 1.6 Kg 15.
Polar Pattern Frequency Response 30
Notes: 31
Lifetime Warranty Royer Labs warrants its products to be free from defects in materials or imperfect workmanship. This lifetime warranty is offered to the original owner and is not transferable. Royer Labs will repair or replace any product that fails to meet factory specifications during the warranty period. The original ribbon element is warranted for a period of one year. No other warranties are implied and this warranty is not transferable.
