Royer Labs Model R-122V Vacuum Tube Ribbon Velocity Microphone Operation Instructions Manual & User Guid e . Made in U.S.
TABLE OF CONTENT Model R-122V Vacuum Tube Ribbon Microphone Revised 201 TABLE OF CONTENT Model R-122V Vacuum Tube Ribbon Microphon Introductio Active Ribbon Technolog Descriptio Application Ribbons in the Digital Worl User Guid Using the R-122V vacuum tube Ribbon Microphon Power Supply Input Modul Operatio Ampli cation Consideration The Sweet Spo 1 Finding and Working with the Sweet Spo 1 Proximity Effect and Working Distanc 1 The Sound That Is “More Real than Real 1 Microphone Technique 1 Gene
Introduction 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. The R-122V incorporates a vacuum tube head ampli cation system that operates in conjunction with a dedicated AC operated power supply.
output level comparable to that of condenser microphones, and its buffer stage provides a low impedance output while presenting a perfect impedance load to the ribbon element. Nonpowered ribbon microphones suffer substantially degraded frequency response and lowered sensitivity when they are paired to a preamp with too low of an input impedance.
Description The R-122V is a compact, active, bi-directional ( gure-eight) velocity type tube ribbon microphone designed for professional applications. The gure-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.
Using the R-122V vacuum tube Ribbon Microphone The head ampli cation system used in the R-122V consists of a sub-miniature military grade vacuum tube con gured as a cathode follower. This circuit arrangement offers ideal impedance matching properties and very high headroom. The vacuum tube is powered from a dedicated power supply that supplies high voltage B+ and heater current through the microphone cable.
extending the life of the tube. We recommend letting the R-122V warm up for at least 15 minutes prior to use. When the microphone becomes operational, bring the channel fader to 0-dB (unity) and use the trim to set the desired level. This technique maximizes the signal-tonoise performance of the preampli er or console input channel 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.
Never attempt to bypass a fuse or use one of a higher rating! Not only is this an unsafe practice, but it will void the factory warranty. Voltage Changeover The power supply can be set to operate from voltages ranging from 100 to 240 volts AC. For 230V operation, use the 240V setting. A small window at the rear of the Input Power Module will display the current voltage setting. To change operation to a different AC voltage requires repositioning a selector drum within the module.
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.
The R-122V vacuum tube ribbon microphone is capable of substantial output signal, especially if used in conjunction with very loud signal sources such as guitar ampli ers. It is therefore recommended that the microphone preampli er have a switchable pad to prevent the possibility of overloading the preampli er’s input stage electronics.
microphone away from it. Another trick is to alter the orientation of the microphone in such a way that the noise is cancelled out. If you ever experience this situation while in the studio, try rotating the microphone to identify the “null” point, and then reposition the mic and the sound source.
square law. The inverse square law states that for each halving of source-to-microphone distance, the sound pressure level quadruples. Other Types of Microphones For the same ratio of direct to reverberant sound, omni-directional microphones must be closer to the sound source than cardioid or bi-directional microphones. Microphones should generally face the sound source head-on; if not, treble losses due to phase cancellation can result.
Radio and television announcers have long relied on proximity effect to give a full, rich, authoritative quality to their voices. By knowing how to work with the proximity effect, the engineer can get several useful effects without resorting to an outboard unit Microphone Techniques General Tips for Using the Royer R-122V The following are good basic starting places for recording with the R-122V.
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 R-122V's. Place the microphones at a height of ten feet or so and a few feet behind the conductor.
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 affecte 3. Side View of Kick Drum miking Technique A) Close miking - angle mic so that pressure wave iss off-axis B) Standard miking positio 4.
Stereophonic Microphone Techniques Classic Blumlein Technique For many years, several “coincident” microphone setups have been widely used for picking up sounds in stereo as naturally as possible. Figure 1 Classic Blumlein or coincident miking technique The “Blumlein” technique, named for A.D. Blumlein of England, involves the use of two gureeight microphones positioned as in the sketch (see Figure 1), so that one faces left and the other right, at an angle of 90 degrees (i.e.
If the outputs of the two microphones are equal (or made equal using gain controls), the stereo pickup will be similar to that of two microphones placed as a Blumlein X-Y pair, delivering a wide stereo image As you reduce the level of the “side” microphone, the width of the stereo image will narrow until, with the side microphone turned all the way down, you have just the “mid” mic panned center for a mono pickup.
gure-8 microphone, the front side of the R-122V is in-phase and the back side is out-of-phase. We suggest that you reverse the phase polarity on your microphone preampli er 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.
2. Do not expose the microphone to direct blasts of air or strong air currents! Use a windscreen or suitable pop lter when close miking a vocalist or certain types of wind instruments. Ppopping does not necessarily damage the ribbon element but may produce unacceptable preampli er overload and could cause damage to speaker systems 3. Do not expose the microphone to liquids or caustic smoke 4.
7-Pin XL Functio Speci cs: Pin Groun Pin Signal Hot (+) (unbalanced Pin No Connection (open Pin High DC Plate Suppl (approximately Voltag 135-VDC Pin Heater supply (6-Volts DC Pin Groun Pin No Connection (open (See page 8 for complete instructions on changing fuses and voltage) Caution! Keep recorded tapes, spring-wound watches, and personal credit cards using magnetic coding away from the microphone to prevent possible damage to them caused by the transducer’s powerful magnets Troub
microphone cable is in good working order. Use another microphone to establish that the signal path is indeed working. If this fails to resolve the problem, contact the factory If the mic works but is noisy or has low output, there could be a problem with the ribbon element or the vacuum tube.
Output Connector Male XLR 3 pin (pin 2 hot Vacuum Tube 5840-W miniature type with wire lead Power Requirements 100-120 VAC 50-60HZ, 220-240 VAC 50-60H Fuse Type (2 Slo-Blo) Located in IEC power connector 200-ma for 110-120 volts, 100-ma for 220-240-volt All Royer monaural microphones are also available in matched pairs. Mechanical Speci cations High-grade Neodymium magnet assembly in Royer’s patented Flux-Frame 1.5” x 3/16” x 2.
Polar Patter Frequency Respons To learn more about Royer products and their usage, visit our website at www.royerlabs.com.
Warrant PLEASE RETAIN YOUR ORIGINAL BILL OF SALE AS YOU WILL NEED TO PRESENT IT SHOULD YOU REQUIRE SERVICE UNDER THIS WARRANTY TO VALIDATE THIS WARRANTY, THE REGISTRATION CARD AND A PHOTOCOPY OF THE SALES RECEIPT FROM AN AUTHORIZED ROYER DEALER MUST BE ON FILE WITH ROYER LABS.
