Rich Rocks the Royer R-122V

Royer Labs 122V is a classic case of old school meeting new breed. It’s the first commercially released ribbon microphone with a tube – two things that until now weren’t usually combined in the same sentence. Built upon the solid foundation of their 121 and 122 series mics, it began as a lab test product that’s now in the hands of those who need it – producers and engineers looking for a new sound with roots. There’s a few other key features in the 122V that are not normally associated with high-end ribbon mics; high SPL handling, low self-noise, low distortion and excellent frequency response. Royer was able to attain these characteristics because the 122V has a specially designed toroidal transformer (which helps reduce mechanical hum and noise floor) and electronic buffer stage. They help deliver the ribbon a correct impedance load (a key element to great sound) while providing a low impedance output with a comparable level to condenser mics.

Rich mics a rare an vintage 1962 Gibson Falcon amp with the 122V.

Detailed Bottom The bottom line is that the 122V can be approached in ways that are different than other ribbons. It’s not as important to match impedance loads when selecting your preamp, although Royer still suggests running above 2,000 ohms. They also note that any preamp with a good gain structure will work well with this mic, lessening the concern with a high gain, low noise issue. If you switch phantom power on by accident, don’t worry about the explosion. The ribbon element is totally isolated by the tube electronics, which also helps to provide a clean signal when using long cable runs. But what makes this different (and more expensive) than its 121 and 122 cousins? Aside of the tube elements (a military spec 5840W pentode wired in triode) and power supply, it has more bottom end performance - due in part to a larger iron core in the transformer. On the top end, its frequency response (see diagram) is quite flat up to near 15kHz, with only a slight dip thereafter. Its also more tolerant to temperature and humidity, with minimal to no performance change. There also seems to be a more defined sense of midrange detail, which to me rounds out the package. However, like other ribbons, be wary of those blasts of air and use it wisely.

A ribbon against the grille of a Marshall? This one can handle the SPL.

Ribbon in the Real World Like the phrase “a picture is worth 1,000 words”, so is putting this bad boy up and listening to it on an instrument (after a nice tube warm-up of course). I began by placing it in front of my 1962 Gibson Falcon amp with guitarist Scotty Moore and his Gretsch Country Gentleman Jr. electric. The sound was immediately inspiring, and I was surprised at the amount of air on top. We ran it through some thick Monster cable into a PreSonus ADL 600 or a Focusrite ISA428, both on their highest impedance setting. When something is right, you leave it alone, and that became the standard go-to amp and mic setup for the record. Next we recorded his 1934 L00 Gibson acoustic and a Collings OM1SS, both of which sounded killer. Usually, with a ribbon mic on acoustics, I compliment it with another type to handle the top end duties. However, the 122V held its own on this occasion and had a special vibe that spoke for itself. The next test was on Andy Munitz’s viola, for a record I was doing that featured a lot of strings. We had previously recorded his violin with another mic and it was a touch harsh (as violins can be unless they have room to breathe), but this was different. I was relieved to get a smooth sound right out of the gate, and I had no need to add EQ during the final mix. This is where I truly noticed a certain midrange clarity that I hadn’t heard in other ribbons, including Royers own models. The classic figure 8 pattern also came in handy here, because the viola resonated in the room and added another element to the sound. A few days later, I used it on world/flamenco guitarist Hernan Romeros Conde Hermonos, but this time I added an Earthworks QTC-1 on the body to fill out the stereo image. We were both shocked at the clarity of the string noise, where you could almost feel his fingers move. Another cool aspect to this was the 122V’s ability to handle transients, as flamenco players such as Romero hit their instruments hard, which ‘woofs’ out most mics except for those with very small diaphragms. Below is an audio example of the blend of mics where both mics are just about even. I did notice that when more single note finger sound was called for, I would just automate the Royer up a touch higher for those passages. Very cool!

Rich adds an Earthworks QTC-1 to the Royer for flamenco guitarist Hernan Romeros Conde Hermanos.

Ace Up Your Sleeve? Last but certainly not least, I took it to Ace Frehley's studio for use on guitar overdubs for his upcoming release. Now we really got to test all those claims about high SPL handling and increased low end. Well, after running it through an Avalon paired up with the classic SM57, there was no doubt about it. It was superb. Ace, who is quite aware of even minimal changes in tone, immediately noticed the difference from other Royer ribbons. As you all know, a good sound is inspiring to play to, and this mic did the job without question, without the need for any EQ or reverb at all. The 122V likes it hot. Trust me, we had this on some LOUD sources, and it never blinked even once. There is nothing quite like the sound of a Gibson Les Paul going straight into a Marshall 4X12, and that extra volume becomes a characteristic of tone. We used it on other amps and cabinets as well, including Fenders, Gibsons, Mesa Boogies and even a Vox.

Rich gets his 2-mic setup going on the Marshall.

During the course of tracking over the next few weeks, I came away with a few additional observations about this mic. First was the fact that we began with an additional 414 room mic for ambience, but after listening closely, the Royer captured all the room sound we needed with its figure-8 pattern. From there, we then recorded with just two mics. I would do a lot of experimenting with depth off the speakers and placement on the cone, and found just off center and just a few inches out to be sweet. Again, no EQ needed - just correct mic placement on a good source. Sometimes I would pace both mics right on the cabinet for that ‘in your face’ sound and the Royer never cracked. Also, I found myself turning the Royer up even with the ’57 to get the correct blend at the board, which was not my usual experience with ribbons - where they just ‘round out’ the bottom. This however, became a primary source of the killer tone. I look forward to hearing how Jay Messina is going to mix these tracks!

Ace's axes. Sweeeet! But which one to choose?

... And, as usual, Rich adds another mic to his collection Overall, the 122V is a definite departure from the classic 121 and 122. The tone is different, and its sense of midrange clarity seems quite defined. It’s also is quite versatile, covering more territory than other ribbons due to its inherent build qualities. I can’t wait to try it on vocals too. For now, it’s still sitting in front of Aces cabinet, waiting for us to get back to work tomorrow. High price and all, there’s no way this tone monster is going back.