ROYER Labs Model R-122 Active Ribbon Velocity Microphone Operation Instructions Manual & Users Guide Made in U.S.A.
TABLE OF CONTENTS Model R-122 Ribbon Microphone Table of Contents page 1 Introduction page 2 Description page 3 Applications page 4 User Guide page 5 Operation page 6 Amplification Considerations page 8 The Sweet Spot page 11 Other Types of Microphones page 13 Proximity Effect and Working Distance page 13 General Tips page 14 Stereophonic Microphone Technique page 18 Specialized Recording Techniques page 20 Care and Maintenance page 21 A Little Bit of History page 22 Features a
R-122 Active Ribbon Microphone 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 overall high performance. The R-122 is the most technologically advanced ribbon microphone available, representing a new level of performance for ribbon microphones. The R-122 active ribbon microphone combines sophisticated technological advancements with old-world craftsmanship.
cable runs degrading the performance of your ribbon microphone. The active electronics provide a robust low impedance signal suitable for all types of preamplifiers. This operator’s manual describes the R-122, its function and method of use. It also describes the care and maintenance required to ensure proper operation and long service life. The User Guide section of this manual offers practical information that is designed to maximize the performance capabilities of this microphone.
like close miking, especially with vocalists or certain types of percussion and wind instruments. Applications The Royer Labs model R-122 is a versatile microphone and is ideally suited for many critical recording applications. Its smooth frequency response characteristics and ability to capture detail make it a fine choice for many instruments, as well as for general broadcast applications. Its gentle low-frequency proximity effect make it especially useful for vocalists and announcers.
The head amplification system utilized in the active series ribbon microphones is designed to operate with standard 48-volt simplex phantom power sources only. The microphone will not work at all if phantom power is not provided to the microphone! This aspect of an active ribbon microphone is in sharp contrast to the common wisdom normally applied to ribbon microphones, where phantom power usually spells danger or destruction to the ribbon element. Active ribbon microphones require phantom power to operate.
cable and activate the phantom power switch. The microphone’s electronics will stabilize in a few seconds. 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.
Several performers can be grouped at both the front and back of the microphone, with one proviso; since the outputs are out of phase at the front and back of the microphone, cancellation can result if, for example, two tenors are placed at opposite sides at equal distances and they are singing in unison, so listen to the feed before committing to it. 3.
cellent results with your R-122 active ribbon microphone. Unlike standard ribbon microphones, which depend on a proper impedance match to deliver optimal performance, the input impedance of your preamplifier will have minimal affect on the R-122’s operational performance because the ribbon element is isolated from the outside world via the microphone’s electronics package. Careful consideration should be given to the quality of the microphone preamplifier.
models do. The latter design could still produce unwanted distortion due to overloading, even if the pad were used. Although this is rarely an issue, we felt that it was important to cover the subject. Since we’re on the subject of preamplifiers, we thought you might find the following information on stereo microphones an insightful addition to the information presented on preamplifiers, performance and selection.
ground loop. The ground loop may be very slight or more pronounced, depending on the preamp. Battery powered preamps usually do not exhibit this problem, and neither do well designed, line operated mic preamps. The simple fix is to disconnect one of the microphone’s two Pin-1 ground connections. A better method is to make a small ground lifter adapter out of a male-female XLR barrel adapter. Switchcraft makes a very nice one and it takes less than five minutes to wire it up.
Hum, Noise and Mic Orientation All dynamic microphones, including ribbons, utilize powerful magnets in their motor assemblies and matching transformers, and are, to some degree, susceptible to picking up stray alternating magnetic fields. Power transformers (such as those found in guitar amplifiers) and alternating current motors are the most likely sources of radiated noise. Building wiring and electrical utility transformers are other likely sources.
This condition is called the sweet spot because the microphone and the sound source are in a harmony of sorts; the acoustic information is exciting the microphone in such a fashion that the resulting reproduction is very desirable, usually without the need for additional equalization or electronic manipulation. There are only general rules as to where the sweet spot may be found for any given microphone, and usually experimentation reveals it.
Other Types of Microphones For the same ratio of direct/reverberant sound, omni-directional microphones must be closer to the sound source than cardioid or bi-directional microphones. Microphones should generally face the sound source head-on; if not, treble losses due to phase loss will result. The exception here is for large condenser microphones, which often give the flattest response at an angle of about 10-20 degrees (off axis), where phase loss and diffraction effect offset each other somewhat.
Another area where proximity effect can be turned to an advantage is to make things sound more “real than real”. For example, many voices and certain musical instruments produce fundamental frequencies within the bass range (below 150 Hz or so) but the fundamentals are weak. If a microphone which has no proximity effect and a rising high frequency response is used on an upright piano, or on a person with a thin, weak voice, the recorded sound is likely to sound even thinner than it was in real life.
Strings sound very sweet and clean with ribbon microphones. Place the microphone several feet from the instrument. For larger string sections, placing the microphone slightly above the instrumentalists and angled down; a distance of three or four feet will do the trick nicely. Pianos sound excellent with ribbon microphones and are free of phase-related comb filtering. The bass is full and rich while the top remains clean with no clatter.
placing the microphone(s) at a distance of four to six feet above the kit works very well without the cymbals sounding splattered. 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 it in, position the microphone away from the hole to avoid excessive air blasts.
will minimize stressing the ribbon. Due to the microphone’s pickup pattern, sound will not be affected.
Stereophonic Microphone Technique 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 figure-eight microphones positioned as in the sketch (see Figure 1), so that one faces left and the other right, at an angle of 90º (i.e. each displaced 45º from center).
The result was what is known as the mid-side microphone technique.
Figure 2, and they are connected as shown in Figure 3. When the outputs of the pair of microphones are combined at the mixer, they will behave like a pair of microphones, one facing left and one right, provided that the sensitivities of the mics are equal and the mixer channel gains are equal. Turning down the side mic all the way will give a mono pickup; as the side mic is turned up, the stereo effect will gradually appear.
recording vocals on either side of an R-122, a quality pop filter (such as the Royer PS-100 or PS-101 metal pop screen) is essential to protect the ribbon element from windblasts. As with any figure-8 microphone, the front side of the R-122 is in-phase and the backside is out-of-phase. We suggest that that you reverse the phase polarity on your microphone preamplifier to achieve inphase recordings when tracking on the backside of an R-122.
3. Do not expose the microphone to liquids or caustic smoke. 4. Do not expose the microphone to strong alternating electromagnetic fields, i.e. the power transformers in amps, or a hum may result. 5. Use a soft cloth to clean the microphone body. A small amount of denatured alcohol can be used to remove fingerprints and other stains. 6. Keep metal filings away from the microphone at all times. 7. When not in use, store the microphone in its protective wooden case. 8.
phones performed very well, their days were numbered. Newer dynamic and condenser mics would soon replace them. The new designs were compact, rugged and sensitive. It wasn’t long before the television industry embraced these new designs. Radio followed the trend shortly afterward. Further technological development of ribbon microphones was considered unnecessary and the beloved ribbon soon faded into obscurity.
level of performance to ribbons and greatly enhancing the desirability of ribbon microphones across the board. We like to think that it’s like going from black and white television to color. Features and Specifications R-122 Features: · Very high overload characteristics – maximum SPL greater than 135 dB · Active electronics offered greatly enhanced output and true ribbon isolation.
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 (81/8” L x 1” W) 309 grams (10.
Polar Pattern 200 Hz 1000 Hz 10 KHz Frequency Response +10 +5 0 -5 -10 20 50 100 500 1000 26 5K 10K 20K
Notes: 27
WARRANTY Royer Labs warrants its products to be free from defects in materials or imperfect workmanship. This warranty is offered to the original owner without time limit. Royer Labs will repair or replace any product that fails to meet published specifications during the warranty period. This warranty does not apply if the product has been damaged by accident or misuse, or as a result of repair or modification by other than a Royer Labs customer service facility authorized to service this product.
