Royer Labs Model R-122 Active Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A.
TABLE OF CONTENTS Model R-122 Active Ribbon Microphone Revised 2015 Introduction 3 Active Ribbon Technology 3 Description 4 Applications 4 Ribbons in the Digital World 5 User Guide 5 Operation 6 Amplification Considerations 7 Equalization & Ribbon Microphones 8 Hum, Noise & Mic Orientation 8 The Sweet Spot 9 Finding and Working with the Sweet Spot 9 Other Types of Microphones 9 Proximity Effect and Working Distance 10 The Sound That Is “More Real than Real” 10 Microphone Techni
Introduction Congratulations on your purchase of a Royer model R-122 Active Ribbon Microphone. The R-122 is a handcrafted precision instrument capable of delivering superior sound quality and exceptional performance. The R-122 represents a new level of performance for ribbon microphones, combining sophisticated technological advancements with old-world craftsmanship. The R-122 incorporates a head amplification system that operates on standard 48 volt simplex power, just like a standard condenser microphone.
focused. The transient response of the R-122 is faster so its high-end frequency response will seem to be slightly extended. Key points: • No longer is it necessary to mate a ribbon microphone to an ultra-high gain, low noise preamplifier for optimum performance. Any preamplifier of nominal gain will provide good results with the R-122. • No longer is it necessary to carefully consider impedance matching characteristics when choosing a preamplifier.
peaks are conspicuously absent. These features make the R-122 ribbon microphone an ideal choice for strings, woodwinds, percussion and amplified instruments. Theater organs and electric guitar amplifiers sound big and fat, without unnatural coloration, when recorded with the R-122. Acoustic pianos can be captured accurately without the comb-filtering effects associated with condenser microphones.
4. When the microphone becomes operational, bring the channel fader to 0-dB (unity) and use the trim to set desired level. This technique maximizes the signal-to-noise performance of the preamplifier or console input channel. 5. When disconnecting the microphone, bring the channel fader down and unplug the microphone from the cable. It is also advisable to deactivate the phantom power switch before unplugging the microphone whenever possible. 6.
without placing a mic sock over it. Failure to follow this commonsense practice may yield a stretched ribbon and compromised performance. 6. Do not allow the microphone to be dropped on hard surfaces such as floors or tables depending on how the mic falls, you could stretch the ribbon. The microphone would likely continue to operate, but performance could be compromised and re-ribboning the microphone would be necessary to restore normal operation.
In conclusion, preamplifier coloration is optional and a matter of personal taste. Some people love the effect of coloration while others strive for absolute transparency. Equalization & Ribbon Microphones One of the great strengths of ribbon microphones is how well they take EQ. Even with substantial amounts of equalization, ribbons retain their natural, “real” quality.
The Sweet Spot Finding and Working with the Sweet Spot Good engineers know the importance and benefits of finding and working with the “sweet spot” of a given microphone. The sweet spot is usually defined as the optimum placement (working distance and angular position) of any microphone relative to the sound source. Each microphone has its own sweet spot, whether it is a ribbon, dynamic or condenser type.
angle of about 10-20 degrees (off axis), where phase loss and diffraction effect offset each other somewhat. Proximity Effect and Working Distance The Sound That Is “More Real than Real” Ribbon microphones have long been renowned for “rich bass.” This effect is largely due to the fact that ribbon microphones generally have excellent bass response to begin with, and at the same time exhibit an effect known as “proximity effect” or “bass tip-up.
but weakened, boosting them by several dB will sound “natural,” even though the sound has been “sweetened.” Radio and television announcers have long relied on proximity effect to produce a full, rich, “authoritative” quality in their voices. By knowing how to work with the proximity effect, the engineer can get several useful effects without resorting to a “box.” Microphone Techniques General Tips for Using the Royer R-122 The following are good basic starting places for recording with the R-122.
Choirs and Orchestras can be picked up well with two R-122s. Place the microphones at a height of ten feet or so and a few feet behind the conductor. The microphones should be spaced apart approximately one foot and angled, one toward the left and one toward the right. Drums and Percussion instruments sound full-bodied and natural when recorded with a pair of R-122s.
2 Example of Horizontal Positioning Technique Angling the microphone slightly will minimize stressing the ribbon. Due to the microphone’s pickup pattern, sound will not be affected.
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).
If the outputs of the two microphones are equal (or made equal using gain controls), the stereo pickup will be similar to that of two microphones placed as a Blumlein X-Y pair, delivering a wide stereo image. As you reduce the level of the “side” microphone, the width of the stereo image will narrow until, with the side microphone turned all the way down, you have just the “mid” mic panned center for a mono pickup.
Specialized Recording Techniques Recording on the back side of the R-122 The R-122 incorporates an “offset ribbon” design that enables it to handle high sound pressure levels such as those produced by loud guitar amplifiers and other instruments. An interesting phenomenon as a result of this offset ribbon construction is that the R-122 records slightly brighter on its back side than on its front (logo) side, when the microphone is three feet or closer to the sound source.
Care & Maintenance The R-122 is a well-built precision instrument. All that is required to ensure proper operation of this microphone is to follow some commonsense rules. 1. Avoid transducer damage by not exposing the microphone to severe shock or vibration. If the microphone is accidentally dropped, test it to see if damage has occurred before returning it to service. Low output or a dull sound would indicate a damaged ribbon. 2.
Features • Very high overload characteristics – maximum SPL greater than 135dB • Active electronics offer greatly enhanced output and a constant, optimized impedance to the ribbon element • Extremely low residual noise • Ribbon element is unaffected by heat or humidity • Absence of high frequency phase distortion • Excellent phase linearity – even off axis • Equal sensitivity from front or back of element • Consistent frequency response regardless of distance • Compact size Electrical Spec
Mechanical Specifications High-grade Neodymium magnet assembly in Royer’s patented Flux-Frame 1.5” x 3/16” x 2.5-micron ribbon assembly Stainless steel internal baffle and dampener Dimensions: 206 mm L x 25 mm W (8-1/8” L x 1” W) Weight: 309 grams (10.
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.
