Royer Labs R-122 User Manual

Royer Labs

Model R-122

Active Ribbon™ Velocity Microphone

Operation Instructions Manual
& User Guide

Made in U.S.A.

TABLE OF CONTENTS

Model R-122 Active Ribbon Microphone™

Revised 2009

Introduction! 3

Active Ribbon™ Technology! 3

Description! 4

Applications! 4

Ribbons in the Digital World! 5

User Guide! 5

Operation! 6

Amplification Considerations! 7

Equalization & Ribbon Microphones! 8

Hum, Noise & Mic Orientation! 8

The Sweet Spot! 9

Finding and Working with the Sweet Spot! 9

Other Types of Microphones! 9

Proximity Effect and Working Distance! 10

The Sound That Is “More Real than Real”! 10

Microphone Techniques! 11

General Tips for Using the Royer R-122! 11

Recording Loud or Plosive Sounds! 12

Stereophonic Microphone Techniques! 14

Classic Blumlein Technique! 14

Mid-Side (M-S) Technique! 14

Specialized Recording Techniques! 16

Recording on the back side of the R-122! 16

Care & Maintenance! 16

Features! 17

Electrical Specifications! 18

Mechanical Specifications! 18

Polar Pattern! 19

Frequency Response! 19

Warranty! 20

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Introduction

Congratulations on your purchase of a Royer model R-122 Active Ribbon Microphone™. The
R-122 is a handcrafted precision instrument capable of delivering superior sound quality and
exceptional performance. The R-122 represents a new level of performance for ribbon
microphones, combining sophisticated technological advancements with old-world
craftsmanship. The R-122 incorporates a head amplification system that operates on standard 48
volt simplex power, just like a standard condenser microphone. This enables the R-122 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 R-122 breaks the long-standing taboo
associated with ribbon microphones and phantom power; it is the first commercially available
ribbon microphone that requires phantom power to operate.

This operator’s manual describes the R-122, 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 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 this manual thoroughly in order to become familiar with all of the R-122’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 Active Ribbon Microphone™.

Active Ribbon™ Technology

The heart of the R-122 (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 noise, very low
distortion and very high SPL handling without the use of pads. The system gives the R-122 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’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 differs from the unpowered R-121 in a few subtle ways. Due to the extra
iron in the R-122’s much larger transformer, low-end frequencies sound slightly tighter and more

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focused. The transient response of the R-122 is faster so its high-end frequency response will
seem to be slightly extended.

Key points:

No longer is it necessary to mate a ribbon microphone to an ultra-high gain, low noise

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preamplifier for optimum performance. Any preamplifier of nominal gain will provide good

results with the R-122.

No longer is it necessary to carefully consider impedance matching characteristics when

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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

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power. The active electronics need phantom power to operate - a first for ribbon microphones.

No longer is it necessary to worry about the effects of long cable runs degrading the

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performance of your ribbon microphone. The active electronics provide a robust low

impedance signal that can handle long cable lengths without loss of signal.

Description

The R-122 is a compact, active, bi-directional (figure-eight) velocity type ribbon microphone
designed for professional applications. The figure-eight pickup pattern allows the R-122 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 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 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.

Applications

The Royer Labs model R-122 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’s ability to capture high frequencies without
distortion or edginess. Orchestral instruments are captured in a natural-sounding way, free from
microphone-induced “hype.” The R-122 has exceptionally smooth high frequency characteristics
and is devoid of microphone induced ringing. Phase-related distortion and irregular frequency

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peaks are conspicuously absent. These features make the R-122 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.
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-122 Active Ribbon Microphone™

The head amplification system used in the R-122 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! This aspect of an active ribbon microphone is in sharp contrast
to the common wisdom normally applied to ribbon microphones, where phantom power usually
spells danger or destruction to the ribbon element. 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; 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.

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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.

Operation

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

1. The R-122 is a side address, bi-directional microphone and its rejection in the “dead” areas is

very strong. Due to this directionality, the R-122 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 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.

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 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.

4. Never attempt to “test” the R-122 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.

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