Royer R122-MKII User's Guide
Royer Labs
Model R-122 MKII
Active Ribbon Velocity Microphone
Operation Instructions Manual
& User Guide
Made in U.S.A.
Table Of Contents
R-122 MKII Active Ribbon Microphone - April 2015
Introduction 3
Active Ribbon Technology 3
Description 4
Applications 5
Ribbons in the Digital World 5
User Guide 6
Operation 7
Switchable Pad 8
Switchable Low-Cut Filter 8
Amplification Considerations 9
Equalization & Ribbon Microphones 9
Hum, Noise & Mic Orientation 10
The Sweet Spot 10
Finding and Working with the Sweet Spot 10
Other Types of Microphones 11
Proximity Effect and Working Distance 11
The Sound That Is “More Real than Real” 11
Microphone Techniques 13
General Tips for Using the Royer R-122 MKII 13
Recording Loud or Plosive Sounds 14
Stereophonic Microphone Techniques 16
Classic Blumlein Technique 16
Mid-Side (M-S) Technique 16
Specialized Recording Techniques 18
Recording on the back side of the R-122 MKII 18
Care & Maintenance 19
Features 20
Electrical Specifications 20
Mechanical Specifications 21
Polar Pattern 21
Frequency Response 21
Warranty 22
2
Introduction
Congratulations on your purchase of a Royer model R-122 MKII Active Ribbon Microphone.
The R-122 MKII is a handcrafted precision instrument capable of delivering superior sound
quality and exceptional performance. The R-122 MKII represents a new level of performance for
ribbon microphones, combining sophisticated technological advancements with old-world
craftsmanship. The R-122 MKII incorporates a head amplification system that operates on
standard 48 volt simplex power, just like a standard condenser microphone. This enables the
R-122 MKII to deliver the same sensitivity and output performance that the recording industry
has grown accustomed to with modern condenser microphones. In addition, the active circuitry
completely isolates the ribbon element from impedance mismatches, short-circuits and other
anomalies that can degrade microphone performance or damage the ribbon.
The original R-122 was released in 2002, It was the world’s first commercially available
phantom-powered ribbon microphone and broke the long-standing taboo associated with ribbon
microphones and phantom power. The R-122 MKII utilizes the same time-proven phantompowered circuitry, with the addition of bass cut and -15 dB pad switches.
This operator’s manual describes the R-122 MKII, its function and method of use. It also
describes the care and maintenance required to ensure proper operation and long service life. The
User Guide section of this manual offers practical information that is designed to maximize the
performance capabilities of your microphone.
Royer Labs products are manufactured to the highest industrial standards using only the finest
materials obtainable. Your model R-122 MKII went through extensive quality control checks
before leaving the factory. 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. This operator’s manual is a handy reference guide and we suggest you refer to it
whenever questions arise about the use and care of your R-122 MKII Active Ribbon
Microphone.
Active Ribbon Technology
The heart of the R-122 MKII (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 self-noise and
very low distortion. The MKII provides a switchable -15 dB pad and low-cut filter for additional
flexibility when used in close-miking applications.
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This system gives the R-122 MKII an output level comparable to that of condenser microphones,
and its buffer stage provides a low impedance output and presents a perfect impedance load to
the ribbon element. Unpowered ribbon microphones suffer substantially degraded frequency
response and lowered gain when they are paired to a preamp with too low an input impedance.
With the R-122 MKII’s active circuit, the microphone’s frequency response and output are much
less affected by variations in the input impedance of the following preamp.
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. The transient response of the R-122 MKII is faster, so its highend frequency response is slightly extended.
Key points:
•
No longer is it necessary to mate a ribbon microphone to an ultra-high gain, low noise
preamplifier for optimum performance. Any preamplifier of nominal gain will provide good
results with the R-122 MKII.
•
No longer is it necessary to carefully consider impedance matching characteristics when
choosing a preamplifier. Microphone loading is a non-issue and consistent performance is
assured, regardless of the preamplifier’s impedance characteristics.
•
No longer is it necessary to be concerned about damaging the ribbon element with phantom
power. The active electronics need phantom power to operate.
•
No longer is it necessary to worry about the effects of long cable runs degrading the
performance of your ribbon microphone. The active electronics provide a robust low
impedance signal that can handle long cable lengths without loss of signal.
•
The switchable pad and low cut filter enable close-miking with less chance of preamplifier
overload.
Description
The R-122 MKII is a compact, active, bi-directional (figure-eight) velocity type ribbon
microphone designed for professional applications. It is similar to the original R-122 in that it
shares the same transducer and impedance matching circuitry. The R-122 MKII incorporates two
additional features not found on its predecessor: a switchable -15 dB pad and a low-cut filter.
These features expand the R-122’s flexibility especially for close miking applications where
preamplifier overload or bass tip-up (due to proximity effect) can be problematic. A pair of
recessed switches are located on the back side of the microphone and are accessible with any
type of stylus device such as a pen tip, toothpick or small screwdriver. These switches are
recessed to prevent accidental activation of the pad or filter. With the switches in their off
positions the circuitry is completely bypassed, allowing the microphone to perform exactly as an
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original R-122 microphone. The figure-eight pickup pattern allows the R-122 MKII to be
addressed from either side with equal sensitivity. The in-phase signal is achieved when the
microphone is addressed from the front, indicated by the “ROYER” logo.
The R-122 MKII is reasonably tolerant of shock and vibration, and performance is unaffected by
changes in temperature or humidity. However, ribbon microphones are somewhat more sensitive
to direct blasts of air and the R-122 MKII is no exception.
Discretionary use of a windscreen or pop screen, such as the Royer PS-101, Beyer WS58 foam
filter or equivalent, is highly recommended for close-miking vocalists or certain types of
percussion and wind instruments.
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. Its gentle low-frequency proximity effect makes it especially useful for vocalists
and announcers. Female vocalists often benefit from the R-122 MKII’s ability to capture high
frequencies without distortion or edginess. Orchestral instruments are captured in a naturalsounding way, free from microphone-induced “hype.” The R-122 MKII has exceptionally
smooth high frequency characteristics and is devoid of microphone induced ringing. Phaserelated distortion and irregular frequency peaks are conspicuously absent. These features make
the R-122 MKII 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 MKII. Acoustic pianos can be captured
accurately without the comb-filtering effects associated with condenser microphones.
Ribbons in the Digital World
Digital recordings benefit greatly from the properties inherent in ribbon microphones. Since A to
D converters cannot distinguish between the sound source being recorded and the complex
distortion components often associated with condenser microphones, they sometimes have
difficulty tracking the signal, resulting in ringing and edgy-sounding tracks. With ribbon
microphones, ringing is almost nonexistent due to the ribbon’s lack of distortion artifacts and
high frequency peaks. A to D converters have less difficulty tracking the ribbon-generated signal,
resulting in very smooth digital recordings free of microphone-related edginess.
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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 48volt simplex phantom power sources only. The microphone will not work at all if phantom power
is not provided to the microphone.
To ensure long service life for your R-122 MKII 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; a general set of
good habits that apply to both active ribbon mics and solid-state condenser microphones.
1. Always be certain that the correct microphone cable is used with the microphone, and that
the cable is in good serviceable order. Standard microphone cables provide a shielded ground
carried along to Pin-1, and a balanced differential signal carried along to Pins-2 and 3. Pin-2
is signal hot (in-phase) and Pin-3 is signal cold.
2. Although it is usually safe to “hot plug” most phantom powered microphones to a
preamplifier or console with the phantom activated, we suggest that you de-activate the
phantom power prior to plugging the microphone to the cable, if possible. This minimizes
any chance of random voltage surges entering the microphone. More importantly, it reduces
the possibility of loud pops being transmitted to your monitor speakers should the volume
control be raised. Serious damage to your speakers could result from this mistake.
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 seconds.
4. When the microphone becomes operational, bring the channel fader to 0-dB (unity) and use
the trim to set desired level. This technique maximizes the signal-to-noise performance of the
preamplifier or console input channel.
5. When disconnecting the microphone, bring the channel fader down and unplug the
microphone from the cable. It is also advisable to deactivate the phantom power switch
before unplugging the microphone whenever possible.
6. If the studio has the microphone lines brought to a patch bay (tie lines), never crosspatch a
microphone line when phantom is applied or the monitor volume is raised. This could cause
damage to your microphone, preamplifier or monitor speakers.
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Operation
There are a few important facts about ribbon microphones that are key in understanding how to
use them successfully.
1. 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. This method is used to achieve the same ratio of direct-toreflected sound.
2. In the horizontal plane, the R-122 MKII 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.
Several performers can be grouped at both the front and back of the microphone, with one
proviso: since the outputs are out of phase at the front and back of the microphone,
cancellation can result if, for example, two tenors are placed at opposite sides at equal
distances and they are singing in unison, so listen to the feed before committing to it.
3. When using the R-122 MKII to record loud signal sources, placing the microphone slightly
off axis relative to the signal source (either horizontally or vertically) minimizes the effect of
high pressure sound levels displacing and possibly damaging the ribbon element. The
switchable -15 dB pad can further assist in capturing loud signal sources without overload.
4. Never attempt to “test” the R-122 MKII or any ribbon microphone with an ohmmeter or
continuity tester. On an active microphone, damage to the delicate electronics could occur;
on a passive ribbon microphone, a blown ribbon could result.
5. Always provide adequate protection for your R-122 MKII, 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
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.
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