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 2015 TABLE OF CONTENTS 2 Model R-122V Vacuum Tube Ribbon Microphone 2 Introduction 3 Active Ribbon Technology 3 Description 5 Applications 5 Ribbons in the Digital World 5 User Guide 6 Using the R-122V vacuum tube Ribbon Microphone 6 Power Supply Input Module 7 Operation 8 Amplification Considerations 9 The Sweet Spot 11 Finding and Working with the Sweet Spot 11 Proximity Effect and Working Distance 12 The S
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.
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 (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.
User Guide Using the R-122V vacuum tube Ribbon Microphone The head amplification system used in the R-122V consists of a sub-miniature military grade vacuum tube configured 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 preamplifier 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.
CAUTION! 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.
preamplifiers on the market today. Choose one that fits your budget and offers good performance, but remember that you get what you pay for. If you have the opportunity to audition one or more preamplifiers before you buy one, do so. Microphones and preamplifiers work together like a team and some are better matches than others. 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 amplifiers.
be worse. The cure for this problem is to identify the source of the noise and move the 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. This is much like having a guitar player with single coil pickups turn around until amplifier hum disappears.
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. 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.
upright piano, or on a person with a thin, weak voice, the recorded sound is likely to sound even thinner than it was in real life. In contrast, using a microphone with strong proximity effect on such sound sources can deliver a “better than real” sound, since the boosted bass response will compensate for the weak fundamentals in the sound source. Since the fundamentals are present, but weakened, boosting them by several dB will sound natural, even though the sound has been sweetened.
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 R-122V's.
1. Example of the Vertical Positioning Technique Slight off-axis positioning will minimize stressing the ribbon on loud sound sources 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.
4. Horizontal Positioning Technique Applied to kick drum - similar to that utilized for other loud or percussive instrument 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.
The “Blumlein” technique, named for A.D. Blumlein of England, involves the use of two figureeight 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. each displaced 45 degrees from center). Each microphone ultimately feeds one speaker in a stereo system, and due to the directionality of the microphones, the result is a very well defined stereo effect on playback.
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.
R-122V’s offset-ribbon design allows ample space for rearward excursions of the ribbon element. However, tracking on the back side causes the ribbon to move forward towards the front side of the microphone, where the internal dampening screen is much closer to the ribbon element. Rear-side recordings of loud, low-frequency sounds, or vocalists with no pop filter, can drive the ribbon into the front dampening screen, creating noise and possibly damaging the ribbon element.
50,000 hours, so tube failure is highly unlikely. However, if the microphone should develop a vacuum tube related problem, it must be returned to the factory for service. 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.
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.
Electrical Specifications Acoustic Operating Principle: Electro-dynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.
Polar Pattern Frequency Response To learn more about Royer products and their usage, visit our website at www.royerlabs.com.
Warranty 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. Royer Labs hereby warrants all Royer R-series microphones with the following terms and conditions.
