Royer Labs R-101 User Manual

Royer Labs

Model R-101

Mono Ribbon Velocity Microphone

Operation Instructions Manual
& User Guide

Assembled in U.S.A.

TABLE OF CONTENTS

Model R-101 Ribbon Microphone

July 2010

Introduction! 3

Description! 3

Applications! 3

Ribbons in the Digital World! 4

User Guide! 4

Using the R-101 Ribbon Microphone! 4

Amplification Considerations! 5

Equalization & Ribbon Microphones! 7

Hum, Noise & Mic Orientation! 7

The Sweet Spot! 7

Finding and Working with the Sweet Spot! 7

Other Types of Microphones! 8

Proximity Effect and Working Distance! 8

The Sound That Is “More Real than Real”! 8

Microphone Techniques! 10

General Tips for Using the Royer R-101! 10

Recording Loud or Plosive Sounds! 11

Stereophonic Microphone Techniques! 13

Classic Blumlein Technique! 13

Mid-Side (M-S) Technique! 13

Care & Maintenance! 15

Features! 15

Electrical Specifications! 16

Mechanical Specifications! 17

Polar Pattern! 18

Frequency Response! 18

Warranty! 19

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Introduction

Congratulations on your purchase of a Royer Labs model R-101 ribbon microphone. The R-101
is a handcrafted precision instrument capable of delivering superior sound quality and
exceptional performance.

This operator’s manual describes the R-101, 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 this microphone.

Royer Labs products are manufactured to the highest industrial standards using only the finest
materials obtainable. Your model R-101 went though 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 the manual thoroughly in order to become familiar with all of the R-101’s
capabilities. It will assist you in making the most of your microphone’s superior acoustic
properties. This owner’s manual is a handy reference guide and we suggest you refer to it
whenever questions arise on the use and care of your R-101 ribbon microphone.

Description

The R-101 is a bi-directional (figure-eight) velocity type ribbon microphone designed for
professional applications. The figure-eight pick-up pattern allows the R-101 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-101 is reasonably tolerant to 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-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.

Applications

The Royer Labs model R-101 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 announcers and vocalists.
Female vocalists often benefit from the R-101’s ability to capture high frequencies without
distortion or edginess. Orchestral instruments are captured in a natural-sounding way and free
from microphone-induced hype. The R-101 has exceptionally smooth high frequency

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characteristics. Phase-related distortion and irregular frequency peaks are conspicuously absent.
Electric guitar amplifiers sound big and natural, without unnatural coloration, when reproduced
with the R-101. The R-101 ribbon microphone is an ideal choice for strings, woodwinds,
percussion, organ and amplified instruments. 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.

User Guide

Using the R-101 Ribbon Microphone

There are a few important facts about ribbon microphones that are key in understanding how to
use them intelligently.

1. The R-101 is a side address, bi-directional microphone and its rejection in the dead areas is
very strong. Due to this directionality, the R-101 should be placed at 1.3 times the distance
normally used with omni-directional microphones, or about the same distance used for
cardioid microphones. 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.

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-101 to record loud signal sources, placing the microphone slightly off axis
to the signal source (either horizontally or vertically) minimizes the effect of high pressure
sound levels displacing and possibly damaging the ribbon element.

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4. The R-101 requires no power supply and is safe to use on consoles with phantom
microphone powering, provided that the cabling is wired properly. It should be noted that not
all ribbon microphones are compatible with phantom-powered systems, so check the
manufacturer’s recommendations before using other ribbon microphones. It should also be
noted that faulty or improperly wired cables could cause problems with your 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.

5. Never attempt to test the R-101 or any ribbon microphone with an ohmmeter. A blown ribbon
could result.

6. Always provide adequate protection for your R-101, 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.

7. 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.

Amplification Considerations

The performance of any non-active ribbon microphone is directly affected by the microphone
preamplifier it is paired with. With so many mic preamps on the market, how do you select one
that gives the best possible performance with a ribbon microphone? Additionally, what kind of
performance can you expect from the preamplifiers built into your mixing desk? While most
preamplifiers will handle ribbon microphones well in most recording situations, some preamps
that work perfectly well with condenser or dynamic mics may prove to be poor performers with
ribbons.

To begin, we must understand the fundamental differences between ribbon microphones and
other popular types, namely condenser and moving coil dynamics. A ribbon microphone is
actually a dynamic microphone that uses a corrugated, extremely low mass ribbon element,
rather than a coil/diaphragm assembly. For this writing, any mention of dynamic microphones
will relate to moving coil dynamics.

All condenser microphones have a built-in preamplifier called a head amp, and therefore put out
a hefty signal. Because the signal is buffered through the head amp, the output impedance is
rather low and less affected by the input impedance of the microphone preamp. Most dynamic
(moving coil) microphones generate a healthy enough electrical current to work well with a

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variety of preamps, and their limited frequency response characteristics make mic loading less
of a concern.

Ribbon microphones generate a highly accurate signal, but the average ribbon mic generates
approximately 20dB less output than condenser microphones. Remember, the ribbon transducer
does not have the benefit of a condenser mic’s built-in “head amp,” so a non-powered ribbon
microphone relies solely on the microphone preamp for all its gain!

The so-called ideal preamplifier is the proverbial “straight wire with gain.” This may be
considered the technological ideal and does not include coloration as a desirable feature.
However, coloration is often desirable and has given rise to the popularity of certain preamps and
even preamp stages in mixing desks. Neve preamps and the famous Trident A Range mixing
console are highly praised for their classic sound.

So what pre’s should we use with our beloved ribbon microphones?
The features that translate into top performance for a ribbon microphone are the following:

1. High gain. A ribbon microphone works best with preamplifiers that have at least 60-70dB of
clean gain.

2. Low noise is a must! With the amount of gain required for efficient operation of a ribbon
microphone, the noise characteristics of the preamp play a pivotal role in overall performance
of the captured acoustic event.

3. Load characteristics: A suitable preamplifier should have input characteristics that impose the
least amount of loading on the ribbon element. In other words, the input impedance should be
high enough that its effect on the performance of the mic is negligible. A good rule of thumb
is to have a preamplifier with input impedance at least 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.

4. Transparency: A good preamp should sound natural, with no edginess. Tube preamps sound
warm, yet wonderfully transparent. Transformer coupled preamps sound punchy. When
recording with condenser or dynamic microphones, engineers often choose mic preamps that
help “warm up the mic,” but warming the signal up is not as important a consideration with
ribbon mics because they are by nature warm and realistic sounding. At this point personal
taste should prevail over anything else.

In conclusion, try to find the best preamp you can afford that has good gain characteristics
and low noise. Coloration is optional.

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