royer R-121 Guide

ROYER Labs
Model R-121
Ribbon Velocity
Microphone
Operation Instructions
Manual & User Guide
Made in U.S.A

TABLE OF CONTENTS
Model R-121 Ribbon Microphone
Revised January 2004
Table of Contents page 1
Introduction page 2
Description page 2
Applications page 3
Ribbons in the Digital World page 3
User Guide page 4
Amplification Considerations page 6
Equalization & Ribbon Microphones page 8
Hum, Noise & Mic Orentation page 8
The Sweet Spot page 9
Other Types of Microphones page 10
Proximity Effect & Working Distance page 11
Microphone Technique page 13
Stereophonic Microphone Technique page 17
Specialized Recording Techniques page 20
Care & Maintenance page 21
Features & Specifications page 22
Electrical Specifications page 23
Mechanical Specifications page 24
Polar Pattern & Frequency Response page 25
Notes page 26
Warranty page 32

Introduction
Congratulations on your purchase of a Royer Labs model R-
121 ribbon microphone. The R-121 is a handcrafted precision
instrument capable of delivering superior sound quality and
exceptional performance.
This operator’s manual describes the R-121, 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-121 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-121’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-121 ribbon microphone.
Description
The R-121 is a compact bi-directional (figure-eight) velocity
type ribbon microphone designed for professional applications.
The figure-eight pick-up pattern allows the R-121 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.
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The R-121 is reasonably tolerant to 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-121 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-121 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 announcers and
vocalists. Female vocalists often benefit from the R-121’s abil-
ity 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-121 has
exceptionally smooth high frequency characteristics. Phase-
related distortion and irregular frequency peaks are conspicu-
ously absent. Theater organs and electric guitar amplifiers
sound big and fat, without unnatural coloration, when repro-
duced with the R-121. These features make the R-121 ribbon
microphone an ideal choice for strings, woodwinds, percussion
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 distin-
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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 non-existent 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-121 Ribbon Microphone
There are a few important facts about ribbon microphones that
are key in understanding how to use them intelligently.
1. The R-121 is a side address, bi-directional microphone and
its rejection in the “dead” areas is very strong. Due to this direc-
tionality, the R-121 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-121 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.
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3. When using the R-121 to record loud signal sources, placing
the microphone slightly off axis to the signal source (either hor-
izontally or vertically) minimizes the effect of high pressure
sound levels displacing and possibly damaging the ribbon ele-
ment.
4. The R-121 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-powering 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-
121. Do not patch an R-121 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-121 or any ribbon microphone
with an ohmmeter. A blown ribbon could result.
6. Always provide adequate protection for your R-121, 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.
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 contin-
ue to operate, but performance could be compromised and re-
ribboning the microphone would be necessary to restore normal
operation.
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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 rib-
bon 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 per-
formers with ribbons.
To begin with, 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 flat, 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 variety of preamps, and their limited frequency response char-
acteristics 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 ribbon microphone relies solely on the microphone
preamp for all its gain!
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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 populari-
ty 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 should we use with our beloved ribbon microphones?
The features that translate into top performance for a ribbon
microphone are the following:
1. Lots of gain! A ribbon microphone works best with pream-
plifiers that have at least 60-70dB of maximum gain.
2. Low noise is a must! With the amount of gain required for
efficient operation of a ribbon microphone, the noise character-
istics 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 micro-
phone. For example, if the mic is rated at 300 Ohms (as Royers
are), 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 and body.
4. Transparency: A good preamp should sound natural, with no
edginess. Tube preamps sound warm, yet wonderfully transpar-
ent. Transformer coupled preamps sound punchy. When record-
ing with condenser or dynamic microphones, engineers often
choose mic preamps that help “warm up the mic,” but warming
the signal up does not need to be a consideration with ribbon
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mics because they are by nature warm and realistic sounding.
At this point personal taste should prevail over anything.
In conclusion, try to find the best preamp you can afford that
has good gain characteristics and low noise. Coloration is
optional.
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-121, you can actually
boost upper-end frequencies to the point where the R-121 emu-
lates the performance curve of a condenser mic with excellent
results. This is not to say that a ribbon microphone can substi-
tute for a quality condenser mic in all cases, 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
microphones also brings up equal amounts of the microphone’s
distortion products and noise; garbage that contributes to an
unnatural, 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
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well-designed microphone provides shielding to minimize the
effects of stray magnetic radiation, but complete isolation is
impossible and the result can be hum or buzz. Ribbon micro-
phones can potentially manifest this condition to a greater
degree because of their higher gain requirements. Vintage rib-
bon microphones 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 situ-
ation while in the studio, try rotating the microphone to identi-
fy 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.
The Sweet Spot
Finding & Working with the Sweet Spot
Good engineers know the benefits of finding and working with
the “sweet spot” of a given microphone. The sweet spot will be
defined as the optimum placement (working distance and angu-
lar 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 of addi-
tional equalization or electronic manipulation.
There are only general rules as to where the sweet spot may be
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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 a given room.
Once the sweet spot is discovered, this placement can become
a “rule of thumb” starting point for future microphone place-
ment 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 microphone 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.
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 halv-
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 or 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
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and diffraction effect offset each other somewhat.
Proximity Effect & 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 is boosted; the effect becomes increas-
ingly 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. 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 which 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
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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
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.”
Typical relationship of
microphone distance to
frequency response for rib-
bon-velocity bidirectional
microphone.
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Microphone Technique
General Tips for Using the Royer R-121
The following are good basic starting places for recording with
the R-121. 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 following techniques
can be found at royerlabs.com.
Brass Instruments and R-121s 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-121. Normal working distances are about a foot or
two from the instrument.
Strings sound very sweet and clean when recorded with R-
121s. 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-121s 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
placed closer to the soundboard.
For capturing a piano in stereo, place a pair of R-121s 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.
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Amplified Instruments should be miked from a distance of 6-
8 inches or more. The smooth undistorted bass response is very
useful for electric guitars and particularly 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-121 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-
121s. 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-121s. For a drum set, plac-
ing the microphone(s) at a distance of four to six feet above the
kit works very well without the cymbals sounding “splattered.”
Akick 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, keep the microphone away from the hole to avoid excessive
air blasts. An R-121 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.
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. Again, keep the microphone well
14

away from any hole in the front head.
Recording Loud or Plosive Sounds
To 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 surprisingly powerful blasts
of air. Kick drums and electric guitar and bass amplifiers are
typical examples of instruments that can produce harmful air
currents. One way to determine if the air pressure 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.
Asimple 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 rib-
bon.
Example of the Vertical Positioning Technique
Slight off-axis
positioning will
minimize stress-
ing the ribbon on
loud sound
sources.
15

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
16

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.
Coincident pair seen from directly above
45 Degrees
Sound Source
(CENTER)
45 Degrees
Figure 1
Classic Blumlein or “coincident” miking technique
17

Mid-Side (M-S) Technique
In the early days of stereo radio broadcasting, the mid-side
recording technique was developed to allow for 1) simultane-
ous stereo and mono feeds from the same mic array and 2) elec-
tronic manipulation of the width of the stereo image.
In M-S recording, one mic faces sideways, one faces forward as
shown in Figure 2, and they are connected as shown in Figure
3.
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” mic panned
center for a mono pickup.
Mid-Side pair as seen from directly above
S
M
90 Degrees
Sound Source
(CENTER)
Figure 2 - Typical M-S miking technique
18

If the outputs of the “mid” and “side” microphones are record-
ed on separate tracks, the electrical connections shown in
Figure 3 can be made at the mixer outputs and the adjustment
of the stereo separation can be done during mixdown, rather
than during the actual recording.
NOTE:
INVERT PHASE
Mixer Channel
Pan LEFT Mixer Channel Pan RIGHT Mixer Channel Pan CENTER
XLR Female
(to mic) XLR Male Right Output
XLR Male
Left Output
(phase reversed)
“Y” adapter mic splitter with phase reversal
Figure 3
Typical M-S connection set-up
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