Golden Age Project R1 MKIII User manual

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 ever­expanding 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.

ACTIVELY 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 CANDIDATE

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
[phone]

[e-mail]
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.

”