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Summary of Contents for royer 122v
- Page 1 ROYER Labs Model R-122 Active Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A...
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Page 2: Table Of Contents
TABLE OF CONTENTS Model R-122 Active Ribbon Microphone Revised January 2004 Table of Contents page 1 Introduction page 2 Active Ribbon Technology page 3 Description page 4 Applications page 5 Ribbons in the Digital World page 5 User Guide page 6 Operation page 7 Amplification Considerations... -
Page 3: Introduction
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 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. -
Page 4: Active Ribbon Technology
R-122 active ribbon microphone. Active Ribbon Technology The heart of the R-122 (and all Royer Active Series micro- phones) is a proprietary system consisting of a specially designed toroidal transformer and electronic buffering stage. -
Page 5: Description
R-122 is no exception to this rule. Discretionary use of a windscreen or pop screen, such as the Royer PS-101, WS58 or equivalent, is highly recommended for close-miking vocalists or certain types of percussion and wind... -
Page 6: Applications
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 cap- ture detail make it a fine choice for many instruments, as well as for general broadcast applications. -
Page 7: User Guide
Royer’s active series ribbon microphones require phantom power to operate. To ensure long service life for your R-122 active ribbon micro- phone, care should be taken when connecting the microphone to a phantom power source. -
Page 8: Operation
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 sec- onds. - Page 9 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 rib- bon and compromised performance.
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Page 10: Amplification Considerations
Amplification Considerations Almost any microphone preamplifier, with nominal gain char- acteristics and a built-in 48-volt phantom power source, will give excellent results with your R-122 active ribbon micro- phone. 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 ele- ment is loaded perfectly via the microphone’s electronics pack-... -
Page 11: Equalization & Ribbon Microphones
Microphones and preamplifiers work together like a team and some are just better matches than others. The R-122 active ribbon microphone is capable of substantial output signal, especially if used in conjunction with very loud signal sources such as guitar amplifiers. It is therefore recom- mended that the microphone preamplifier have a switchable pad to prevent the possibility of overloading the preamplifier’s input stage electronics. -
Page 12: Hum, Noise & Mic Orentation
microphones brings up equal amounts of the microphone’s dis- tortion products and noise; garbage that contributes to an unnat- ural, unpleasant sound. Because distortion and self-noise are almost nonexistent in ribbon microphones, high levels of EQ can be used without adding harshness or excessive noise. Hum, Noise &... -
Page 13: The Sweet Spot
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 (work- ing distance and angular position) of any microphone relative to the sound source. -
Page 14: Other Types Of Microphones
2. Frequency response variation due to treble losses as a result of absorption and “narrowing” of the pattern at high frequen- cies, causing weakening of highs as the microphone is moved away from the sound source. 3. Variation in ratio of direct to reverberant sound. 4. - Page 15 increasingly pronounced as the distance between the micro- phone and the sound source is reduced. 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.
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Page 16: Microphone Technique
“box.” Microphone Technique General Tips for Using the Royer R-122 The following are good basic starting places for recording with the R-122. 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 follow- ing techniques can be found at royerlabs.com. - Page 17 placed closer to the soundboard. For capturing a piano in stereo, place a pair of R-122s apart, one over the bass strings and the other over the high strings. The far- ther the mics are from each other, the wider the stereo spread. For a more direct stereo effect, the microphones may be placed in an “X-Y”...
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Page 18: Recording Loud Or Plosive Sounds
prisingly large, full drum sound. For closer miking of a kick drum (10 to 18 inches), the micro- phone should be leaned forward at a 45-degree angle to protect the ribbon element from excessive plosive forces. This micro- phone position also provides good kick drum isolation because the top of the microphone, which does not pick up sound, is aimed at the rest of drum kit. - Page 19 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. 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—similar to that utilized for other loud or...
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Page 20: 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 21 Mid-Side (M-S) Technique In the early days of stereo radio broadcasting, the mid-side recording technique was developed to allow for 1) simultane- ous stereo and mono feeds from the same mic array and 2) elec- tronic manipulation of the width of the stereo image. In M-S recording, one mic faces sideways, one faces forward as shown in Figure 2, and they are connected as shown in Figure If the outputs of the two microphones are equal (or made equal...
- Page 22 If the outputs of the “mid” and “side” microphones are record- ed on separate tracks, the electrical connections shown in Figure 3 can be made at the mixer outputs and the adjustment of the stereo separation can be done during mixdown, rather than during the actual recording.
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Page 23: Specialized Recording Techniques
When recording vocals on either side of an R-122, a quality pop filter (such as the Royer PS-101 metal pop screen) is essential to protect the ribbon element from windblasts. As with any fig- ure-8 microphone, the front side of the R-122 is in-phase and the back side is out-of-phase. -
Page 24: Care & Maintenance
forward towards the front side of the microphone, where the internal dampening screen is much closer to the ribbon element. Rear-side recordings of loud, low-frequency sounds, or vocal- ists with no pop filter, can drive the ribbon into the front damp- ening screen, creating noise and possibly damaging the ribbon element. -
Page 25: Features & Specifications
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. Leave disassembly of the microphone to a trained techni- cian. There are no user-serviceable parts inside. Caution! Keep recorded tapes, spring-wound watches, and personal credit cards using magnetic coding away from the micro-... -
Page 26: Electrical Specifications
200 Ohms balanced > 1000 Ohms Rated Load Impedance > 135dB Maximum SPL Male XLR 3 pin (pin 2 Output Connector hot) 48-Volt phantom only Power Requirements Supply Current 4 mA All Royer monaural microphones are also available in matched pairs. -
Page 27: Mechanical Specifications
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 206 mm L x 25 mm W Dimensions (8-1/8” L x 1” W) Weight 309 grams (10.9 ounces) -
Page 28: Polar Pattern & Frequency Response
Polar Pattern Frequency Response... -
Page 29: Notes
Notes:... -
Page 33: Warranty
Royer Labs. 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 prod- uct.
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