Subscribe to Our Youtube Channel
Related Manuals for royer R-101
Summary of Contents for royer R-101
- Page 1 Royer Labs Model R-101 Mono Ribbon Velocity Microphone Operation Instructions Manual & User Guide Assembled in U.S.A.
-
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-101 Recording Loud or Plosive Sounds Stereophonic Microphone Techniques Classic Blumlein Technique Mid-Side (M-S) Technique Care &... -
Page 3: Introduction
However, ribbon microphones are somewhat more sensitive to direct blasts of air, and the R-101 is no exception to this rule. Discretionary use of a windscreen or pop screen, such as the Royer PS-101, or equivalent, is highly recommended for close-miking vocalists or certain types of percussion and wind instruments. -
Page 4: Ribbons In The Digital World
This method is used to achieve the same ratio of direct to reflected sound. 2. In the horizontal plane, the R-101 does not discriminate against the highs off axis; nor does it boost highs on axis. Therefore, several instruments or vocalists can be placed in front of the microphone without favoring the performer in the center of the group. -
Page 5: Amplification Considerations
R-101. Do not patch an R-101 through the mic tie lines of a patch bay if phantom power is enabled on any of your mic pre’s, as this will give the ribbon element a brief but damaging phantom power jolt. - Page 6 five times the impedance of the microphone. For example, if the mic is rated at 300 Ohms (as the R-101 is), the preamp should have an input impedance of at least 1500 Ohms. If the impedance of the preamp is too low, the microphone will lose low end, body and sensitivity.
-
Page 7: Equalization & Ribbon Microphones
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. -
Page 8: Other Types Of Microphones
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. - Page 9 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.
-
Page 10: Microphone Techniques
Placing the mic at greater distances from the speaker cabinet adds more room ambience to the mix. You will find that the R-101 does not add undesirable elements to the sound. Basically, what you hear at the amp is what you get in the control room and in your recordings. -
Page 11: Recording Loud Or Plosive Sounds
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. - Page 12 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.
-
Page 13: Stereophonic Microphone Techniques
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 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 14 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.
-
Page 15: Care & Maintenance
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. -
Page 16: Electrical Specifications
• 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 •... -
Page 17: Mechanical Specifications
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 1.4" W) Finish: Matte Black Accessories:... -
Page 18: Polar Pattern
Polar Pattern Frequency Response... -
Page 19: Warranty
Ribbon Element One year SCOPE OF WARRANTY: From the date of original purchase and for the respective periods specified above, Royer Labs will repair all Royer Labs products which are defective in material and workmanship. EXCLUSIONS: This warranty does not cover the following: 1.
Need help?
Do you have a question about the R-101 and is the answer not in the manual?
Questions and answers