Golden Age Project R1 Active MKIII Manual

Golden Age Project Mikrofon R1 Active MKIII

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AT 76

AT 77

REVIEW

GOLDEN AGE PROJECT R1 ACTIVE MKIII

Try a golden ribbon from an old time Swede.

Text: Andrew Bencina

 e philosophy behind the Golden Age

Project comprises equal parts Ban Ki-moon

and Pappy O’Daniel.  e Swedish company, with

over 20 years experience in the pro audio  eld,

seems determined to democratise what it refers to as

‘vintage-style audio recording,’ by freeing the

old-timey sounds from the clutches of the pro-audio

cliques and empowering the people with an

a ordable brand that delivers classic performance at

prehistoric prices. Its latest addition to an ever-

expanding range of Chinese made/Swedish

modi ed microphones and preamps is the

R1 MkIII Active Ribbon.

STEEPED IN OLD TIMEY

No attempt has been made to disguise the heritage

of the Golden Age Project R1 MkIII Active.  e

dark racing green and chrome chassis closely echoes

the ‘classic ribbon’ form, and it’s not hard to imagine

yourself ported to another time as you prepare to

croon a fresh take into its ample grille.

Beneath this classic (albeit generic) exterior, the

R1 employs a two-micron thick, 50mm corrugated

aluminium ribbon, tensioned within a magnetic

 eld. Both ribbon and magnet assembly are

mounted within an internal shockmount, but don’t

let this fool you, the shockmount does little to

protect the mic’s delicate mechanism from rough

treatment or misuse. (Golden Age Project hammers

this point home with a ribbon warranty that

extends no further than your ‘initial inspection’!)

Rapid movement, exposure to wind or breathy

plosives, and horizontal storage may all result in

damage to the ribbon alignment (which is the

case with most vintage ribbons). To combat this,

Golden Age Project provides a padded material

case that’s rugged and surprisingly stable when

resting upright on its  at base.  e case can also

slide over a stand-mounted R1 when not in use or

during repositioning – whether that be across the

room or into the cupboard. Unfortunately, only

a small screw secures the U-shaped frame to the

threaded stand mount, which leaves the mic feeling

decidedly wobbly, particularly in the standard

upright position. It’s not unusual to  nd design

compromises like this in an entry-level product but

this is one that would seem so easy to resolve.

It almost goes without saying that a ribbon mic

should never be used without a pop shield, but

despite its susceptibility to a mighty wind, the R1

MkIII Active is more than capable of handling high

sound pressure levels (up to an impressive 160dB @

1kHz). Its Figure-8 polar pattern is characterised by

wide front and rear lobes and the usual 90 degree

o -axis null points, making it far more forgiving

of a vocalist’s sideways movement than many

various large diaphragm condensers. Conversely,

its vertical axis is very narrow at high frequencies.

 e limited length of the ribbon means that shorter

wavelengths will be partially ignored if they’re not

channelled directly into the microphone. While

something to be aware of, this limitation can also be

musically employed to good e ect. Hand percussion

instruments like tambourines and shakers, for

example, can e ectively be  ltered on-the- y by

simply playing above or below the microphone.

ACT IVELY AGED

What sets the R1 MkIII apart from the tickertape

parade of ribbon mic designs is its active circuitry.

 e mic utilises a FET/bipolar discrete low-noise

current ampli er that raises the output of the

microphone to a level similar to that of many

condenser mics. During testing, in fact, I found the

active ribbon design of the mic generally exceeded

these levels.  e active circuitry, powered by

standard 48V phantom, also bu ers the ribbon and

gain makeup transformer from the inconsistencies

of preamp impedance and interference caused

by long cable runs, which can o en wreak havoc

with a ribbon’s tone.  e active component of

the R1 MkIII therefore ensures that the mic will

perform consistently with any preamp (including

the company’s very own Pre73 – reviewed on page

68). In addition, it broadens the application of the

microphone to include a whole new range of

quieter sources.

I have long enjoyed the smooth top end and full

bottom of ribbons on sources like drum overheads,

horns and guitar cabs.  eir downfall has been

their common fragility in the face of high-level

SPLs, and the paranoia that surrounds their use in

these situations.  ankfully the R1 MkIII Active is

more resilient in this regard thanks to the welcome

addition of a –10dB pad. Compared directly to a

Sennheiser MD421 on a bluesy lead recording, for

example, the R1 MkIII achieved a big midrange

and controlled top end without the overt sense of

low-end  ltering that the dynamic microphone

delivered. Better still, it didn’t blow up, nor could

it be damaged by phantom power – where many

a ribbon has been reduced to a mute courtesy

of the dreaded 48V feed, the R1 MkIII won’t

work without it!

It was on quieter instruments that a whole

new world of sound capture opened up. On

acoustic guitar, for instance, the R1 MkIII leant

an open and detailed ear to recordings while

easily controlling the unwanted zing of the

steel strings. On quietly sung baritone vocals

I discovered an extension and clarity to the

bottom-end that I’d previously never managed

to record with such ease.  e ample body and

subtle top end of the R1 MkIII also o ered

welcome respite from recent trials capturing an

o en screechy solo violin while the added gain

enhanced the mic’s ability to control and  ll out

smaller female vocal performances.

A NEW CANDIDAT E

Golden Age is certainly not alone in its return to

the smooth simplicity of ribbon mic design. In

recent years the market has been utterly deluged

with ribbon options ranging from the cheap and

cheerful to frighteningly expensive. Golden Age

Project does, however, claim to have produced

the  rst low-cost active ribbon on the market,

and a quick search online adds weight to these

claims.

 e R1 MkIII is marketed as an entry-level

microphone for those wishing to explore ‘vintage

style recording,’ a claim that actually sells the

mic short.  e R1 MkIII Active is an a ordable

microphone that delivers on the classic smooth

ribbon tone but without many of the limitations

that plague passive designs. Its price makes it

perfect for those straining for  exibility on a

limited budget. If you ask me, its time is now.

Price

$369

Contact

Mixmasters

(08) 7200 4500

sales@mixmasters.com.au

www.mixmastersproaudio.com

Pros

Active circuit solves usual

ribbon limitations.

Delivered excellent detail

with full, rich tone in a range

of applications.

–10dB pad and Low cut

increase the mic’s ﬂ exibility.

Outstanding bang

for your buck.

Cons

Incorporated mount ﬂ imsy,

and not easily substituted.

Restrictive ribbon warranty

means handle with care.

Summary

Whether you’re recording

the Soggy Bo om Boys

or the Pussy Cat Dolls

the Golden Age R1 MkIII

would make a worthwhile

addition to any mic arsenal.

The active FET circuitry

addresses many of the

classic ribbon shortcomings

while maintaining smooth

and detailed performance.

Add to that its bargain price

tag and you’ve got a mic that

can both inspire newcomers

and tempt even the most

frugal fogie to embrace the

ribbon renaissance.

NEED TO KNOW

“

The R1 MkIII is marketed as

an entry-level microphone

for those wishing to explore

‘vintage style recording,’ a

claim that actually sells the

mic short.

”

Produkt Specifikationer

Mærke:	Golden Age Project
Kategori:	Mikrofon
Model:	R1 Active MKIII

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