royer R-122 MKII Operation Instructions Manual & User Manual
R-122 mkii
active ribbon velocity microphone
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Summary of Contents for royer R-122 MKII
- Page 1 Royer Labs Model R-122 MKII 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 MKII 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 MKII Care & Maintenance Features Electrical Specifications Mechanical Specifications Polar Pattern... -
Page 3: Introduction
Normal care is all that is required to assure a lifetime of trouble-free service. Please read this manual thoroughly in order to become familiar with all of the R-122 MKII’s capabilities. It will assist you in making the most of your microphone’s superior acoustic properties. -
Page 4: Description
Sonically the R-122 MKII differs from the unpowered R-121 in a few subtle ways. Due to the extra iron and toroidal transformer technology, the R-122 MKII’s low-end frequencies sound slightly tighter and more focused. -
Page 5: Applications
Applications The Royer Labs model R-122 MKII 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 6: User Guide
User Guide Using the R-122 MKII Active Ribbon Microphone The head amplification system used in the R-122 MKII is designed to operate with standard 48- volt simplex phantom power sources only. The microphone will not work at all if phantom power is not provided to the microphone. -
Page 7: Operation
The R-122 MKII is a side address, bi-directional microphone and its rejection in the “dead” areas is very strong. Due to this directionality, the R-122 MKII should be placed at 1.3 times the distance normally used with omni-directional microphones, or at about the same distance used for cardioid microphones. -
Page 8: Switchable Pad
Engaging the pad does not color the sound of the microphone. Switchable Low-Cut Filter The R-122 MKII incorporates a switchable low-cut filter designed to reduce very low frequencies. In the off position (switch to the left) the filter circuitry is completely bypassed. -
Page 9: Amplification Considerations
“real” quality. For example, when a lead vocal is being performed on an R-122 MKII, you can actually boost upper-end frequencies to the point where the R-122 MKII emulates the performance curve of a condenser... -
Page 10: Hum, Noise & Mic Orientation
Passive ribbon microphones can potentially manifest this condition to a greater degree because of their higher gain requirements. Even an active ribbon microphone like the R-122 MKII is not completely immune to this phenomenon. Vintage ribbon microphones often have poor shielding and the problem can be worse. -
Page 11: Other Types Of Microphones
reproduction is very desirable, usually without the need for additional equalization or electronic manipulation. There are only general rules as to where the sweet spot may be found for any given microphone, and usually experimentation reveals it. The sweet spot can be extremely variable since it depends on the quirks of a given microphone and acoustics of a given room. - Page 12 the bass response becomes boosted; the effect becomes increasingly pronounced as the distance between the microphone and the sound source is reduced. This bass-boosting characteristic can become quite intense and, if desired, can be corrected by Equalization and/or the use of the R-122 MKll’s bass cut filter. 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 13: 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 MKII does not add undesirable elements to the sound. Basically, what you hear at the amplifier is what you get in the control room and in your recordings. -
Page 14: 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 MKII 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 15 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 16: 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 17 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 18: Specialized Recording Techniques
Cautionary Note: It is important to note that the SPL handling capability of the rear side of the R-122 MKII is lower than its front side. The R-122 MKII is rated for 135 dB SPL on its front side, but recordings on the rear side should not exceed 115 dB SPL. -
Page 19: Care & Maintenance
Care & Maintenance The R-122 MKII 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 20: Features
Switchable Pad: -15 dB Switchable Bass Cut: 100 Hz (6 dB per octave) 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 21: 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 Frequency Response... -
Page 22: 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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