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Summary of Contents for royer R-122L
- 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
Other Types of Microphones Proximity Effect and Working Distance The Sound That Is “More Real than Real” Microphone Techniques General Tips for Using the Royer R-122 Recording Loud or Plosive Sounds Stereophonic Microphone Techniques Classic Blumlein Technique Mid-Side (M-S) Technique... -
Page 3: Introduction
R-122 Active Ribbon Microphone. Active Ribbon Technology The heart of the R-122 (and all Royer Active Ribbon Microphones) is a proprietary system consisting of a specially designed toroidal transformer and electronic buffering stage. These work together as a single unit to provide excellent frequency response, very low noise, very low distortion and very high SPL handling without the use of pads. -
Page 4: Description
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. -
Page 5: Ribbons In The Digital World
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. -
Page 6: Operation
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... -
Page 7: Amplification Considerations
without placing a mic sock over it. Failure to follow this commonsense practice may yield a stretched ribbon and compromised performance. 6. Do not allow the microphone to be dropped on hard surfaces such as floors or tables - depending on how the mic falls, you could stretch the ribbon. The microphone would likely continue to operate, but performance could be compromised and re-ribboning the microphone would be necessary to restore normal operation. -
Page 8: Equalization & Ribbon Microphones
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. Even with substantial amounts of equalization, ribbons retain their natural, “real”... -
Page 9: 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 (working distance and angular position) of any microphone relative to the sound source. -
Page 10: Proximity Effect And Working Distance
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”... -
Page 11: Microphone Techniques
“box.” Microphone Techniques 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 following techniques can be found at royerlabs.com. -
Page 12: Recording Loud Or Plosive Sounds
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. - Page 13 2 Example of Horizontal Positioning Technique Angling the microphone slightly will minimize 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 that pressure wave is off-axis B) Standard miking position 4 Horizontal Positioning Technique Applied to kick drum—similar to that utilized for other loud or percussive instruments...
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Page 14: Stereophonic Microphone Techniques
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 figure- eight 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. - Page 15 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”...
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Page 16: 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 wind blasts. As with any figure-8 microphone, the front side of the R-122 is in-phase and the back side is out-of-phase. -
Page 17: Care & Maintenance
Care & Maintenance The R-122 is a well-built precision instrument. All that is required to ensure proper operation of this microphone is to follow some commonsense 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. -
Page 18: Features
200 Ohms, balanced Rated Load Impedance: 1K-Ohm minimum Maximum SPL: 135dB @ 30 Hz 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 19: Mechanical Specifications
Protective wood case, protective mic sock, mic clip Optional Accessories: Shock mount, pop screen Warranty Lifetime to original owner (repair or replace at Royer’s option) To learn more about Royer products and their usage, visit our website at www.royerlabs.com. Polar Pattern... -
Page 20: Warranty
First re-ribbon free SCOPE OF WARRANTY: From the date of original purchase and for the respective periods specified above, Royer Labs agrees to repair, at its sole expense, all Royer Labs products which are defective in material and workmanship. EXCLUSIONS: This warranty does not cover the following: 1.
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