Royer Labs Model R-121 Mono Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A.
TABLE OF CONTENTS Model R-121 Ribbon Microphone Revised A Introduction Description Applications Ribbons in the Digital World User Guide 3 3 3 4 4 Using the R-121 Ribbon Microphone 4 Amplification Considerations 5 Equalization & Ribbon Microphones 6 Hum, Noise & Mic Orientation 7 The Sweet Spot 7 Finding and Working with the Sweet Spot 7 Other Types of Microphones 8 Proximity Effect and Working Distance 8 The Sound That Is “More Real than Real” 8 Microphone Techniques 10 General Tips fo
Introduction Congratulations on your purchase of a Royer Labs model R-121 ribbon microphone. The R-121 is a handcrafted precision instrument capable of delivering superior sound quality and exceptional performance. This operator’s manual describes the R-121, its function and method of use. It also describes the care and maintenance required to ensure proper operation and long service life.
characteristics. Phase-related distortion and irregular frequency peaks are conspicuously absent. Electric guitar amplifiers sound big and natural, without unnatural coloration, when reproduced with the R-121. The R-121 ribbon microphone is an ideal choice for strings, woodwinds, percussion, organ and amplified instruments. Acoustic pianos can be captured accurately without the comb filtering effects associated with condenser microphones.
all ribbon microphones are compatible with phantom-powered systems, so check the manufacturer’s recommendations before using other ribbon microphones. It should also be noted that faulty or improperly wired cables could cause problems with your R-121. Do not patch an R-121 through the mic tie lines of a patch bay if phantom power is enabled on any of your mic pre’s, as this will give the ribbon element a brief but damaging phantom power jolt. 5.
Ribbon microphones generate a highly accurate signal, but the average ribbon mic generates approximately 20dB less output than condenser microphones. Remember, the ribbon transducer does not have the benefit of a condenser mic’s built-in “head amp,” so a non-powered ribbon microphone relies solely on the microphone preamp for all its gain! The so-called ideal preamplifier is the proverbial “straight wire with gain.
This is not to say that a ribbon microphone can substitute for a quality condenser mic in all cases, but the EQ friendliness inherent in ribbon microphones does allow for an enormous amount of flexibility. Ribbon mics take EQ so well because of their inherent low self-noise, unusually smooth frequency response characteristics, and freedom from off-axis coloration.
There are only general rules as to where the sweet spot may be found for any given microphone, and usually experimentation reveals it. The sweet spot can be extremely variable since it depends on the quirks of a given microphone and a given room. Once the sweet spot is discovered, this placement can become a rule of thumb starting point for future microphone placement with similar sound sources. Remember this: If it sounds good, it’s probably right. If it doesn’t, move the microphone.
Typical relationship of microphone distance to frequency response for ribbon-velocity bidirectional microphone. This bass-boosting characteristic can become quite intense and, if desired, can be corrected by equalization. However, for a multiple microphone setup, the pronounced bass boosting (due to proximity effect) can be turned to an advantage.
Microphone Techniques General Tips for Using the Royer R-121 The following are good basic starting places for recording with the R-121. These positions are known to produce good results, but experimentation is the key to getting the most out of your recordings! Photographs of many of the following techniques can be found at www.royerlabs.com. Brass Instruments and R-121s go together very well.
A kick drum should be miked at a distance of at least 18 inches and possibly used in conjunction with a blast filter to prevent excessive ribbon movement. If the front head has a hole cut in it, position the microphone away from the hole to avoid excessive air blasts. An R-121 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.
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. 3. Side View of Kick Drum Miking Technique A) Close miking—angle mic so that pressure wave is off-axis B) Standard miking position 4.
Stereophonic Microphone Techniques Classic Blumlein Technique For many years, several coincident microphone setups have been widely used for recording 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).
Figure 2 - Typical M-S Miking Technique In M-S recording, one mic faces sideways, one faces forward as shown in Figure 2, and they are connected as shown in Figure 3. 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.
Specialized Recording Techniques Recording on the back side of the R-121 The R-121 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-121 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-121 is a hand-built precision instrument. All that is required to ensure proper operation of this microphone is to follow some common sense 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 • No internal active electronics to overload or produce distortion up to maximum SPL rating • 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 • No power supply required • Compact size Ele
Mechanical Specifications High grade Neodymium magnet assembly in Royer’s patented Flux-Frame transducer 1.5” x 3/16” x 2.5-micron ribbon assembly Stainless steel internal baffle and dampener Weight: 244 grams (8.6 ounces) Weight with Case: 21.1 ounces Dimensions: 158mm x 25mm (6.
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.
