Royer Labs Model R-101 Mono Ribbon Velocity Microphone Operation Instructions Manual & User Guide Assembled in U.S.A.
TABLE OF CONTENTS Model R-101 Ribbon Microphone July 2010 Introduction 3 Description 3 Applications 3 Ribbons in the Digital World 4 User Guide 4 Using the R-101 Ribbon Microphone 4 Amplification Considerations 5 Equalization & Ribbon Microphones 7 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”
Introduction Congratulations on your purchase of a Royer Labs model R-101 ribbon microphone. The R-101 is a handcrafted precision instrument capable of delivering superior sound quality and exceptional performance. This operator’s manual describes the R-101, 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-101. The R-101 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.
4. The R-101 requires no power supply and is safe to use on consoles with phantom microphone powering, provided that the cabling is wired properly. It should be noted that not 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-101.
variety of preamps, and their limited frequency response characteristics make mic loading less of a concern. Ribbon microphones generate a highly accurate signal, but the average ribbon mic generates approximately 20dB less output than condenser microphones.
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. For example, when a lead vocal is being performed on an R-101, you can actually boost upper-end frequencies to the point where the R-101 emulates the performance curve of a condenser mic with excellent results.
Being in the sweet spot means 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 of 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.
the bass response is boosted; the effect becomes increasingly pronounced as the distance between the microphone and the sound source is reduced. 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-101 The following are good basic starting places for recording with the R-101. 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. Amplified Instruments should be miked from a distance of 6-8 inches or more.
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-101 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 minimizes 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 the sound 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.
Care & Maintenance The R-101 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.
• 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 Electrical Specifications Acoustic Operating Principle: Electro-dynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.
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: 483g (17 oz) Weight with Case: 3 lbs (1.4Kg) Dimensions: 200mm L X 36mm W (7.9"L X 1.
Polar Pattern Frequency Response 18
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.
