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 2009 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 Tech
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.
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.
3. Be certain that the input channel fader or volume control is set to minimum before plugging in any microphone. Preamplifier gain trim should be set to minimum. Plug the microphone into the 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.
5. Always provide adequate protection for your R-122, or any ribbon microphone. If the microphone is to remain set up on a stand when not in use, place a “mic sock” (supplied with every Royer microphone) over it until it is to be used. Do not carry the microphone around without placing a mic sock over it. Failure to follow this commonsense practice may yield a stretched ribbon and compromised performance. 6.
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. 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.
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 micro-phone 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 90¼ (i.e. each displaced 45¼ 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.
popping does not necessarily damage the ribbon element but may produce unacceptable preamplifier overload and could cause damage to speaker systems. 3. Do not expose the microphone to liquids or caustic smoke. 4. Do not expose the microphone to strong alternating electro-magnetic fields, such as 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.
Electrical Specifications Acoustic Operating Principle: Electro-dynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.
Polar Pattern Frequency Response 19
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.