royer 122v Guide

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 January 2004
Table of Contents page 1
Introduction page 2
Active Ribbon Technology page 3
Description page 4
Applications page 5
Ribbons in the Digital World page 5
User Guide page 6
Operation page 7
Amplification Considerations page 9
Equalization & Ribbon Microphones page 10
Hum, Noise & Mic Orentation page 11
The Sweet Spot page 12
Other Types of Microphones page 13
Proximity Effect & Working Distance page 13
Microphone Technique page 15
Recording Loud or Plosive Sounds page 17
Stereophonic Microphone Technique page 19
Specialized Recording Techniques page 22
Care & Maintenance page 23
Features & Specifications page 24
Electrical Specifications page 25
Mechanical Specifications page 26
Polar Pattern & Frequency Response page 27
Notes page 28
Warranty page 32

Introduction
R-122 Active Ribbon Microphone
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 con-
denser 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 dam-
age the ribbon. The R-122 breaks the long-standing taboo asso-
ciated 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
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the most of your microphone’s superior acoustic properties.
This operator’s manual is a handy reference guide and we sug-
gest 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 Series micro-
phones) 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 fre-
quency 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 ele-
ment. 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 not effected 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 focused. The transient response of the R-122 is faster, and
its high-end 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 perform-
ance. Any preamplifier of nominal gain will provide good
results with the R-122.
No longer is it necessary to carefully consider impedance
3

matching characteristics when choosing a preamplifier.
Microphone loading is a non-issue and consistent performance
is assured, regardless of the preamplifier’s impedance charac-
teristics.
No longer is it necessary to be concerned about damaging the
ribbon element with phantom 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 performance of your ribbon micro-
phone. 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 humid-
ity. 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.
4

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 cap-
ture 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 edgi-
ness. 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 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 distin-
guish between the sound source being recorded and the com-
plex distortion components often associated with condenser
microphones, they sometimes have difficulty tracking the sig-
nal, 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.
5

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 rib-
bon 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 micro-
phone, 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 per-
fectly 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 & 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 pow-
ered microphones to a preamplifier or console with the phan-
tom activated, we suggest that you de-activate the phantom
power prior to plugging the microphone to the cable, if possi-
ble. This minimizes any chance of random voltage surges enter-
ing the microphone. More importantly, it reduces the possibili-
ty 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.
6

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 sec-
onds.
4. When the microphone becomes operational, bring the chan-
nel 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 dam-
age 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 direc-
tionality, 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.
7

Therefore, several instruments or vocalists can be placed in
front of the microphone without favoring the performer posi-
tioned 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 rib-
bon element.
4. Never attempt to “test” the R-122 or any ribbon microphone
with an ohmmeter or continuity tester. On an active micro-
phone, damage to the delicate electronics could occur; on a pas-
sive ribbon microphone, a blown ribbon could result.
5. Always provide adequate protection for your R-122, 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 rib-
bon 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 contin-
ue to operate, but performance could be compromised and re-
ribboning the microphone would be necessary to restore normal
operation.
8

Amplification Considerations
Almost any microphone preamplifier, with nominal gain char-
acteristics and a built-in 48-volt phantom power source, will
give excellent results with your R-122 active ribbon micro-
phone. Unlike standard ribbon microphones, which depend on
a proper impedance match to deliver optimal performance, the
input impedance of your preamplifier will have minimal affect
on the R-122’s operational performance because the ribbon ele-
ment is loaded perfectly via the microphone’s electronics pack-
age.
Careful consideration should be given to the quality of the
microphone preamplifier. Studio-grade preamplifiers usually
sound much better than cheap ones. Headroom, noise floor,
transparency and coloration are all factors to consider in deter-
mining which preamplifier is suitable for your studio or live
sound application. Other features are usually secondary and fall
into the category of conveniences or interface capabilities (such
as digital or optical outputs).
Agood preamplifier should sound natural, with no sign of edgi-
ness or excessive noise. Vacuum tube preamplifiers sound
warm, yet wonderfully airy and transparent. Do not expect a
vacuum tube preamplifier to be as quiet as a solid-state preamp,
as electron emissions from tubes tend to convey more “ther-
mal” noise than transistors. Tube preamplifier noise is far less
of an issue with the R-122 than with conventional ribbon
microphones because the R-122’s high output will override the
noise. Transformer coupled designs tend to sound punchy and
full-bodied and offer the added benefit of true electronic isola-
tion. This greatly enhances their ability to interface with other
equipment with minimal noise or hum. There are many excel-
lent preamplifiers on the market today. Choose one that fits
your budget and offers good performance, but remember that
you get what you pay for. If you have the opportunity to audi-
tion one or more preamplifiers before you buy one, do so.
9

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 recom-
mended that the microphone preamplifier have a switchable
pad to prevent the possibility of overloading the preamplifier’s
input stage electronics. Some preamplifiers are more thought-
fully designed than others, and a suitable pad will be provided
before the active electronics, not incorporated into a “feedback
loop” as some cheaper models do. The latter design could still
produce unwanted distortion due to overloading, even if the pad
were used. Although this is rarely an issue, we felt that it was
important to cover the subject.
In conclusion, preamplifier coloration is optional and a matter
of personal taste. Some people love the effect of coloration
while others strive for absolute transparency.
Equalization & Ribbon Microphones
One of the great strengths of ribbon microphones is how well
they take EQ. Even with substantial amounts of equalization,
ribbons retain their natural, “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 emu-
lates the performance curve of a condenser mic with excellent
results. This is not to say that ribbon microphones can replace
quality condenser mics in all circumstances, but the EQ friend-
liness inherent in ribbon microphones does allow for an enor-
mous amount of flexibility.
The reason that ribbon mics take EQ so well is their inherent
low self-noise (less than 15dB), unusually smooth response
characteristics, and freedom from off-axis coloration. Dialing
in high amounts of equalization on condenser or dynamic
10

microphones brings up equal amounts of the microphone’s dis-
tortion products and noise; garbage that contributes to an unnat-
ural, unpleasant sound. Because distortion and self-noise are
almost nonexistent in ribbon microphones, high levels of EQ
can be used without adding harshness or excessive noise.
Hum, Noise & Mic Orientation
All dynamic microphones, including ribbons, are electromag-
netic devices and are, to some degree, susceptible to picking up
stray alternating magnetic fields. Power transformers (such as
those found in guitar amplifiers) and alternating current motors
are the most likely sources of radiated noise. Building wiring
and electrical utility transformers are other likely sources. A
well-designed microphone provides shielding to minimize the
effects of stray magnetic radiation. In some cases complete iso-
lation is impossible and the result is usually hum or buzz.
Passive ribbon microphones can potentially manifest this con-
dition to a greater degree because of their higher gain require-
ments. Even an active ribbon microphone like the R-122 is not
completely immune to this phenomenon. Vintage ribbon micro-
phones often have poor shielding and the problem can be
worse. The cure for this problem is to identify the source of the
noise and move the microphone away from it. Another trick is
to alter the orientation of the microphone in such a way that the
noise is cancelled out. If you ever experience this situation
while in the studio, try rotating the microphone to identify the
“null” point, then reposition the mic and the sound source. This
is much like having a guitar player with single coil pickups turn
around until amplifier hum disappears.
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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 (work-
ing distance and angular position) of any microphone relative to
the sound source.
Each microphone has its own sweet spot whether it is a ribbon,
dynamic or condenser type. The sweet spot will vary with the
type of sound source and its volume intensity, the polar pattern
of the microphone and how consistent it is with frequency, and
the acoustic environment.
Being in the sweet spot means the microphone and the sound
source are in a harmony of sorts; the acoustic information is
exciting the microphone in such a fashion that the resulting
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. Once the sweet spot is discovered, this placement
can become a “rule of thumb” starting point for future micro-
phone placement with similar sound sources. Remember this: If
it sounds good, it’s probably right. If it doesn’t, move the
microphone. It’s often more effective to reposition the micro-
phone than to start fiddling with knobs. Knob twisting can
affect headroom and phase coherency and add unwanted noise.
The following is a list of variables that account for “sweet
spot” effect.
1. Frequency response variations due to proximity effect.
12

2. Frequency response variation due to treble losses as a result
of absorption and “narrowing” of the pattern at high frequen-
cies, causing weakening of highs as the microphone is moved
away from the sound source.
3. Variation in ratio of direct to reverberant sound.
4. Tendency of a microphone to favor the nearest sound source
due to a combination of these items, plus the influence of
inverse square law. Inverse square law states that for each half-
ing of source-to-microphone distance, the sound pressure level
quadruples.
Other Types of Microphones
For the same ratio of direct to reverberant sound, omni-direc-
tional microphones must be closer to the sound source than car-
dioid or bi-directional microphones. Microphones should gen-
erally face the sound source head-on; if not, treble losses due to
phase cancellation can result. The exception here is for large
condenser microphones, which often give the flattest response
at an 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” or
“bass tip-up.”
As illustrated in the following graph, a typical bi-directional
ribbon microphone will have a flat frequency response at a dis-
tance of about six feet from the microphone, but at shorter dis-
tances the bass response becomes boosted; the effect becomes
13

increasingly pronounced as the distance between the micro-
phone and the sound source is reduced.
This bass-boosting characteristic can become quite intense and,
if desired, can be corrected by equalization. However, for a
multiple microphone setup, the pronounced bass boosting (due
to proximity effect) can be turned to an advantage. If an instru-
ment, such as a trumpet, is extremely close-miked and the bass
is cut to restore flat response, unwanted low-frequency sounds
are cut back by upwards of 20dB compared to an unequalized
microphone with a flat response. This discrimination is inde-
pendent of the microphone’s polar response.
Another area where proximity effect can be turned to an advan-
tage is to make things sound more “real than real.” For exam-
ple, many voices and certain musical instruments produce fun-
damental frequencies within the bass range (below 150Hz or
so) but the fundamentals are weak. If a microphone that has no
proximity effect and a rising high frequency response is used on
an upright piano, or on a person with a thin, weak voice, the
recorded sound is likely to sound even thinner than it was in
real life. In contrast, using a microphone with strong proximity
effect on such sound sources can deliver a “better than real”
sound since the boosted bass response will compensate for the
weak fundamentals in the sound source. Since the fundamentals
14
Typical relationship of
microphone distance to
frequency response for rib-
bon-velocity bidirectional
microphone.

are present, but weakened, boosting them by several dB will
sound “natural,” even though the sound has been “sweetened.”
Radio and television announcers have long relied on proximity
effect to produce a full, rich, “authoritative” quality in their
voices. By knowing how to work with the proximity effect, the
engineer can get several useful effects without resorting to a
“box.”
Microphone Technique
General Tips for Using the Royer R-122
The following are good basic starting places for recording
with the R-122. These positions are known to produce good
results, but experimentation is the key to getting the most
out of your recordings! Photographs of many of the follow-
ing techniques can be found at royerlabs.com.
Brass Instruments and R-122s go together very well. Mic the
instrument from a distance of a couple of feet, and increase the
working distance a little if several instruments are being used.
Reed Instruments sound full and never edgy when captured
with an R-122. Normal working distances are about a foot or
two from the instrument.
Strings sound very sweet and clean when recorded with R-
122s. Place the microphone several feet from the instrument.
For larger string sections, try placing the microphone slightly
above the instrumentalists and angled down; a distance of three
or four feet will do the trick nicely.
Pianos sound excellent when recorded with R-122s and are free
of phase-related comb filtering. The bass is full and rich while
the top remains clean with no clatter. Mic the piano at a distance
of one foot to several feet, depending on taste. A more direct
“up front” sound will be achieved when the microphone is
15

placed closer to the soundboard.
For capturing a piano in stereo, place a pair of R-122s apart, one
over the bass strings and the other over the high strings. The far-
ther the mics are from each other, the wider the stereo spread.
For a more direct stereo effect, the microphones may be placed
in an “X-Y” pattern a couple of feet from the center of the
soundboard.
Amplified Instruments should be miked from a distance of 6-
8 inches or more. The smooth undistorted response of a ribbon
microphone is very useful for electric guitars and electric bass.
Since guitar amplifier speakers are often “beamy,” experiment
with mic placement to find just the right spot. 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 record-
ings.
Choirs and Orchestras can be picked up well with two R-
122s. Place the microphones at a height of ten feet or so and a
few feet behind the conductor. The microphones should be
spaced apart approximately one foot and angled, one toward the
left and one toward the right.
Drums and Percussion instruments sound full-bodied and nat-
ural when recorded with a pair of R-122s. For a drum set, plac-
ing the microphone(s) at a distance of four to six feet above the
kit works very well without making the cymbals sound splat-
tered. A kick drum should be miked at a distance of at least 18
inches and possibly used in conjunction with a blast filter to
prevent excessive ribbon movement. 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 sur-
16

prisingly large, full drum sound.
For closer miking of a kick drum (10 to 18 inches), the micro-
phone should be leaned forward at a 45-degree angle to protect
the ribbon element from excessive plosive forces. This micro-
phone position also provides good kick drum isolation because
the top of the microphone, which does not pick up sound, is
aimed at the rest of drum kit.
Recording Loud or Plosive Sounds
With all ribbon microphones, wind is the enemy! Air movement
is far more damaging to ribbon microphones than high SPL’s.
Some sound sources can generate powerful blasts of air that
should be avoided. Kick drums and electric guitar and bass
amplifiers are typical examples of sound sources that can pro-
duce harmful air currents. One way to determine if the air pres-
sure is excessive is to place your hand in front of the sound
source (the kick drum, the guitar cab, etc.) and see if you can
feel actual air movement. If you feel air movement, do not put
your ribbon microphone there. A simple technique that can
avert damage due to overstressing the ribbon is as follows:
After choosing the optimum placement for the microphone,
slightly angle the microphone in such a way that the percussive
wave is not directed at the front of the mic “head on.” Often, a
slight angular tilt (either vertically or horizontally) is all that is
required to prevent harm to the ribbon..
Example of the
Vertical
Positioning
Technique
Slight off-axis
positioning will
minimize stressing
the ribbon on loud
sound sources.
17

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.
Side View of Kick Drum Miking Technique
A) Close miking—angle mic so that pressure wave is off-axis
B) Standard miking position
Horizontal Positioning Technique
Applied to kick drum—similar to that utilized for other loud or
percussive instruments
18

Stereophonic Microphone Technique
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 90º (i.e. each displaced 45º
from center).
Each microphone ultimately feeds one speaker in a stereo sys-
tem, and due to the directionality of the microphones, the result
is a very well defined stereo effect on playback. For classical
music, particularly, the reproduction can be very satisfying.
19
Coincident pair seen from directly above
45 Degrees
Sound Source
(CENTER)
45 Degrees
Figure 1
Classic Blumlein or “coincident” miking technique