royer R-122V Operation Instructions Manual & User Manual
Vacuum tube ribbon velocity microphone
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Summary of Contents for royer R-122V
- Page 1 Royer Labs Model R-122V Vacuum Tube Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A.
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Page 2: Table Of Contents
Microphone Techniques General Tips for Using the Royer R-122V Recording Loud or Plosive Sounds Stereophonic Microphone Techniques Classic Blumlein Technique Specialized Recording Techniques Recording on the Back Side of the R-122V Care & Maintenance Voltage Conversion Fuse Replacement R-122V CABLE PINOUT... - Page 3 Troubleshooting Features Electrical Specifications Mechanical Specifications Polar Pattern Frequency Response Warranty...
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Page 4: Introduction
The R-122V incorporates a vacuum tube head amplification system that operates in conjunction with a dedicated AC operated power supply. This enables the R-122V to deliver the same sensitivity and output performance that the recording industry has grown accustomed to with modern condenser microphones. - Page 5 SPL handling without the use of pads. The system gives the R-122V an 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. Non- powered ribbon microphones suffer substantially degraded frequency response and lowered sensitivity when they are paired to a preamp with too low of an input impedance.
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Page 6: Description
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. -
Page 7: User Guide
The tube's heater supply is a "constant current" design that enables the tube to perform correctly, even with microphone cables of varying lengths. To ensure long service life for your R-122V vacuum tube ribbon microphone, care should be taken when connecting the microphone to its power supply. We have prepared a few tips to ensure that your R-122V ribbon microphone will perform perfectly for many years;... -
Page 8: Power Supply Input Module
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-to- noise performance of the preamplifier or console input channel. -
Page 9: Voltage Changeover
There are a few important facts about ribbon microphones that are key in understanding how to use them intelligently. 1. The R-122V is a side address, bi-directional microphone Image 5 and it’s rejection in the “dead” areas is very strong. Due to this directionality, the R-122 should be placed at 1.3... -
Page 10: Amplification Considerations
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. -
Page 11: Equalization & Ribbon Microphones
“real” quality. For example, when a lead vocal is being performed on an R-122V, you can actually boost upper-end frequencies to the point where the R-122V emulates the performance curve of a condenser mic with excellent results. -
Page 12: The Sweet Spot
to this phenomenon. Vintage ribbon microphones often have poor shielding and the problem can 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. -
Page 13: Other Types Of Microphones
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. -
Page 14: Microphone Techniques
Photographs of many of the following techniques can be found at www.royerlabs.com. Brass Instruments and R-122V go together very well. Mic the instrument from a distance of a couple of feet, and increase the working distance a little if several instruments are being used. -
Page 15: Recording Loud Or Plosive Sounds
If the front head has a hole cut in it, position the microphone away from the hole to avoid excessive air blasts. An R-122V used as a mono room mic, four to six feet in front of the kit and compressed, will yield a surprisingly large, full drum sound. - Page 16 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.
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Page 17: Stereophonic Microphone Techniques
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. Figure 1 Classic Blumlein or coincident miking technique... - Page 18 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 90¼ (i.e. each displaced 45¼ 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.
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Page 19: Specialized Recording Techniques
Cautionary Note: It is important to note that the SPL handling capability of the rear side of the R-122V is lower than its front side. The R-122V is rated for 135dB SPL on its front side, but recordings on the... -
Page 20: Care & Maintenance
There are no user-serviceable parts inside. 9. The R-122V’s power supply has no user serviceable parts inside so do not attempt to make repairs. There are lethal voltages present that can cause serious injury if mishandled. Leave servicing to a qualified electronic technician. -
Page 21: Voltage Conversion
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:... -
Page 22: Troubleshooting
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. -
Page 23: Electrical Specifications
Electrical Specifications Acoustic Operating Principle: Electro-dynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.5 micron aluminum ribbon Frequency Range: 30HZ – 15,000HZ ± 3dB Sensitivity: -36dBv Ref 1 v/pa Self Noise: <18dB Output Impedance: 200 Ohms balanced Rated Load Impedance: 1000 Ohms minimum Maximum SPL: >... -
Page 24: Polar Pattern
camera style carrying case, instructions and documentation. To learn more about Royer products and their usage, visit our website at www.royerlabs.com. Polar Pattern Frequency Response... -
Page 25: Warranty
First re-ribbon free SCOPE OF WARRANTY: From the date of original purchase and for the respective periods specified above, Royer Labs agrees to repair, at its sole expense, all Royer Labs products which are defective in material and workmanship. EXCLUSIONS: This warranty does not cover the following: 1.
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