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 & User Guide Made in U.S.A.
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Page 2: Table Of Contents
General Tips for Using the Royer R-122 Recording Loud or Plosive Sounds Stereophonic Microphone Techniques Classic Blumlein Technique Mid-Side (M-S) Technique Specialized Recording Techniques Recording on the back side of the R-122 Care & Maintenance Features Electrical Specifications Mechanical Specifications Polar Pattern... -
Page 3: Introduction
With the R-122’s active circuit, the microphone’s frequency response and output are much less affected by variations in the input impedance of the following preamp. -
Page 4: Description
However, ribbon microphones are somewhat more sensitive to direct blasts of air, and the 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 instruments. -
Page 5: Ribbons In The Digital World
Royer’s active series ribbon microphones require phantom power to operate. To ensure long service life for your R-122 active ribbon microphone, 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;... -
Page 6: Operation
This method is used to achieve the same ratio of direct to reflected sound. 2. In the horizontal plane, the R-122 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 positioned in the center of the group. -
Page 7: Amplification Considerations
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 recommended that the microphone preamplifier have a switchable pad to prevent the possibility of overloading... -
Page 8: Equalization & Ribbon Microphones
“real” quality. For example, when a lead vocal is being performed on an R-122, you can actually boost upper-end frequencies to the point where the R-122 emulates the performance curve of a condenser mic with excellent results. -
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
Placing the mic at greater distances from the speaker cabinet adds more room ambience to the mix. You will find that the R-122 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... -
Page 12: Recording Loud Or Plosive Sounds
If the front head has a hole cut in it, position the microphone away from the hole to avoid excessive air blasts. An R-122 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 13 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. 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 90¼... - 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
Cautionary Note: It is important to note that the SPL handling capability of the rear side of the R-122 is lower than its front side. The R-122 is rated for 135dB SPL on its front side, but recordings on the rear side should not exceed 115dB SPL. -
Page 17: Features
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. -
Page 18: Electrical Specifications
Electrical Specifications Acoustic Operating Principle: Electro-dynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.5 micron aluminum ribbon Frequency Range: 30HZ – 15,000HZ ± 3dB Sensitivity: -39dBv Ref 1 v/pa Self Noise: <20dB Output Impedance: 200 Ohms balanced Rated Load Impedance: >... -
Page 19: Polar Pattern
Polar Pattern Frequency Response... -
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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