royer R-122 Operation Instructions Manual & User Manual
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Summary of Contents for royer R-122
- Page 1 ROYER Labs Model R-122 Active Ribbon Velocity Microphone Operation Instructions Manual & Users Guide Made in U.S.A.
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Page 2: Table Of Contents
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 3: Introduction
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 instru- ment capable of delivering superior sound quality and overall high performance. The R-122 is the most technologically advanced rib- bon microphone available, representing a new level of perform- ance for ribbon microphones. -
Page 4: Description
However, ribbon microphones are somewhat more sensitive to di- rect blasts of air, and the R-122 is no exception to this rule. Dis- cretionary use of a windscreen or pop screen, such as the PS-100,... -
Page 5: Applications
Applications The Royer Labs model R-122 is a versatile microphone and is ide- ally 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. - Page 6 Active ribbon microphones require phantom power to operate. To ensure long service life of your R-122 active ribbon micro- phone, care should be taken when connecting the microphone to a phantom power source. We have prepared a few tips to ensure that your active ribbon microphone will perform perfectly for many years.
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Page 7: Operation
This could cause damage to your microphone, preamplifier or monitor speakers. Operation The R-122 ribbon microphone is a versatile device capable of ac- curate sound reproduction. Ribbon microphones are different from other types of microphones and there are a few important characteristics that are key to understanding how to use them in- telligently. -
Page 8: Amplification Considerations
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. - Page 9 R-122’s op- erational performance because the ribbon element is isolated from the outside world via the microphone’s electronics package.
- Page 10 Some preamplifier designs are prone to developing internal ground loops when used in conjunction with stereo or multi- channeled microphones, such as the Royer model SF-12. Al- though this phenomenon is uncommon, ground loops can develop in the preamplifier with any stereo microphone, regardless of the type (i.e.
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Page 11: Equalization And Ribbon Microphones
ground loop. The ground loop may be very slight or more pro- nounced, 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. -
Page 12: The Sweet Spot
Even an active ribbon microphone like the R-122 is not completely immune to this phe- nomenon. With vintage ribbon microphones that employ large bulky magnet structures, the problem can be worse. The cure for this problem is to identify the source of the noise and move the microphone away from it. - Page 13 This condition is called the sweet spot because the microphone and the sound source are in a harmony of sorts; the acoustic infor- mation is exciting the microphone in such a fashion that the re- sulting reproduction is very desirable, usually without the need for additional equalization or electronic manipulation.
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Page 14: Other Types Of Microphones
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. -
Page 15: General Tips
Another area where proximity ef- fect can be turned to an advan- tage is to make things sound more “real than real”. For example, many voices and certain mu- sical 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... - Page 16 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 instru- mentalists and angled down; a distance of three or four feet will do the trick nicely.
- Page 17 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 ex- cessive ribbon movement.
- Page 18 will minimize stressing the rib- bon. Due to the microphone’s pickup pattern, sound will not be affected. Side view of kick drum miking technique A) Close miking— angle mic so that pressure wave is off-axis B) Standard miking position Horizontal positioning technique Applied to kick drum—...
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Page 19: Stereophonic Microphone Technique
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... - Page 20 The result was what is known as the mid-side microphone tech- nique. One mic faces sideways, one faces forward as shown in Mid-Side pair as seen from directly above 90 Degrees Sound Source (Center) Figure 2 - Typical M-S miking technique SIDE NOTE: INVERT PHASE...
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Page 21: Specialized Recording Techniques
Normal proximity effect (increase of bass), which is prevalent on the R-122 and all ribbon microphones, occurs normally at 4-6 feet from a ribbon microphone and increases with closeness. Vocalists and voice-over talents often take advantage of proximity effect to give an authoritative quality or rich texture to their voice. -
Page 22: Care And Maintenance
Cautionary Note: It is important to note that the SPL handling capability of the rear side of the R-122 is less than its front side. When tracking loud sounds on the front side, the R-122's offset-ribbon design al- lows ample space for rearward excursions of the ribbon. How-... -
Page 23: A Little Bit Of History
3. Do not expose the microphone to liquids or caustic smoke. 4. Do not expose the microphone to strong alternating electro- magnetic 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. - Page 24 Now, with the introduc- tion of the world’s first active ribbon microphone, the R-122 adds a whole new chapter to the story of microphones, bringing a new...
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Page 25: Features And Specifications
200 Ohms balanced Rated Load Impedance > 1000 Ohms Maximum SPL > 135 dB Output Connector Male XLR 3 pin (Pin 2 Hot) Power Requirements 48-Volt Phantom Only Supply Current 4 mA All Royer monaural microphones are also available in matched pairs. -
Page 26: Mechanical Specifications
Protective wood case, mic clip, and protective mic sock Optional Accessories Shock mount, pop screen Warranty Lifetime to original owner (repair or replace at Royer’s option) For up to the minute information on Royer products and their usage visit our website at www.royerlabs.com... -
Page 27: Polar Pattern And Frequency Response
Polar Pattern 200 Hz 1000 Hz 10 KHz Frequency Response 1000... -
Page 28: Notes
Notes:... -
Page 29: Warranty
WARRANTY Royer Labs warrants its products to be free from defects in mate- rials or imperfect workmanship. This warranty is offered to the original owner without time limit. Royer Labs will repair or re- place any product that fails to meet published specifications dur- ing the warranty period.
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