royer R-121 Instruction Manual

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Table of Contents page 1
Introduction page 2
Descriptionpage 2
Applications page 2
User Guide page 3
Amplification Considerations page 4
The Sweet Spot page 6
Other Types of Microphones page 7
Proximity Effect and Working Distance page 7
Microphone Technique page 8
Stereophonic Microphone Technique page 9
Specialized Recording Techniques page 12
Care and Maintenance page 12
A Little Bit of History page 13
Features and Specifications page 14
Electrical Specifications page 14
Mechanical Specifications page 15
Polar Pattern and Frequency Response page 15
Warranty page 16

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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 overall high 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, given to any quality instrument, is all that
is required to assure years 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 its 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.
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The Royer Labs model 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.
The R-121 is tolerant of shock and vibration, and is unaffected by changes in temperature
or humidity. 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-filter, such as the PS-100, PS-101, WS58 or equivalent is highly recommended for
situations such as close miking, especially with vocalists or certain types of percussion
and wind instruments.
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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 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-121’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-121 has exceptionally smooth high frequency characteristics. Phase-related distortion
and irregular frequency peaks are conspicuously absent. Theater organs and electric guitar
amplifiers sound big and fat, without unnatural coloration, when reproduced with the R-
121. These features make the R-121 ribbon microphone an ideal choice for strings,

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woodwinds, percussion and amplified instruments. Acoustic pianos can be captured
accurately without the comb-filtering effects associated with condenser microphones.
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Using The R Ribbon Microphone
Operation
The R-121 ribbon microphone is a versatile device capable of accurate sound
reproduction. 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 the rejection in the “dead”
areas is very strong. Due to this directionality, ribbon microphones 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, ribbon microphones do not discriminate against the “highs” off
axis; nor do they boost them 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 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 a ribbon microphone with loud signal sources, placing the microphone
slightly off axis to the signal source is all that is required for efficient operation.
4. The Royer model 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.
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” 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!

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The performance of a ribbon microphone is directly affected by the choice of 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 we expect from the preamplifiers built into
our mixing desks? 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 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
characteristics make mic loading less of a concern.
Ribbon microphones generate a highly accurate signal, but the average ribbon mic
generates approximately 20 dB less gain than that of 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!
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 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 preamplifiers that have at least
60-70 dB of maximum gain.
2. Low noise is a must! With this much gain being 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 to 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

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five times the impedance of the microphone. For example, if the mic is rated at 300 Ohms
(as Royer’s 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 transparent. Transformer coupled preamps sound punchy.
When recording with condenser or dynamic microphones engineers often choose mic
preamp that help “warm up the mic”, but warming the signal up does not need to be a
consideration with ribbon mics because they are by nature warm and realistic sounding.
At this point personal taste should prevail over anything.
Stereo Microphones and Ground Loops
Some preamplifiers are prone to developing ground loops when used in conjunction with
stereo or multi channeled microphones, such as the SF-12. Ground loops can develop in
the preamplifier with any stereo microphone, regardless of the type (i.e. condenser,
dynamic, ribbon). A ground loop manifests itself as unwanted noise, buzz or hum
(usually 120 Hz).
The condition is brought on when the left and right transducer elements are plugged into
two inputs of a stereo or multi-channel preamplifier. The pair of three-pin male XLR
connectors of the stereo microphone cable usually shares Pin-1 as ground, so they are
grounded to each other through the cable set. If the grounding scheme within the
preamplifier is poorly designed, or the distances to internal ground are too great, a ground
loop develops. The problem may be more apparent with ribbon microphones because of
the high gain required for proper operation.
You can perform a simple test to check for this condition (preferably done with a pair of
headphones to avoid feedback). Plug one side of the stereo microphone into either
preamplifier input. Listen to the output of the preamp. All should be quiet except for
the mic signal. Now plug the second side into the next preamplifier input. If a noise or
buzz develops, you have a ground loop. The ground loop may be very slight or more
pronounced, depending on the preamp. Battery powered preamps usually do not exhibit
this problem, and neither do well designed, line operated mic preamps. The simple fix is
to disconnect one of the microphone’s two Pin-1 ground connections. A better method is
to make a small ground lifter out of a male-female XLR barrel adapter. Switchcraft makes
a very nice one and it takes less than five minutes to wire it up. Simply connect Pin-2 to
Pin-2, Pin-3 to Pin-3, and leave Pin-1 disconnected. Correcting the problem at the
preamplifier would be preferable, but is often more difficult and/or expensive.
In conclusion, try to find the best preamp you can afford that has good gain
characteristics and low noise. Coloration is optional.
Equalization and 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 a ribbon microphone, you can actually
boost the upper end frequencies to the point where the ribbon mic emulates the

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performance curve of a condenser mic with excellent results. This is not to say that a
ribbon microphone can replace a quality condenser mic, but the EQ friendliness inherent
in ribbon microphones does allow for an enormous amount of flexibility.
The reason that ribbon mics take EQ so well is because of their inherent low self-noise
(less than 15 dB) and unusually smooth response characteristics. Dialing in high amounts
of equalization on condenser or dynamic microphones also means dialing in extra amounts
of the microphone’s distortion products and self noise; garbage that contributes to an
unnatural, unpleasant sound. Because distortion and self-noise are almost non-existent in
ribbon microphones, high levels of EQ can be used without adding harshness or excessive
noise.
Hum Noise and Mic Orientation
All dynamic microphones, including ribbons, utilize powerful magnets in their motor
assemblies and matching transformers, 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 isolation is impossible and the result is usually hum or
buzz. Ribbon microphones can potentially manifest this condition to a greater degree
because of their higher gain requirements. With vintage ribbon microphones that employ
large bulky magnet structures, the problem can be worse.
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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 will be defined as the optimum placement
(working distance and angular position) of any microphone relative to the sound source.
Each microphone has its own sweet spot whether it is a 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.
This condition is called the sweet spot because 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 a given room. Once the
sweet spot is discovered, this placement can become a “rule of thumb” starting point for
future microphone placement with similar sound sources. Remember this: If it sounds

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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 also 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 frequencies,causing weakening of highs as the
microphone is moved away from the sound source.
3. Rise in treble response on-axis due to diffraction.
4. Loss of treble response off-axis due to phase-loss effect.
5. Variation in ratio of direct/reverberant sound.
6. Tendency of a microphone to favor the nearest sound source due to a combination of
these items, plus the influence of inverse square law.
Other Types of Microphones
For the same ratio of direct/reverberant sound, omni-directional microphones must be
closer to the sound source than cardioid or bi-directional microphones. Microphones
should generally face the sound source head-on or else treble losses due to phase loss will
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.
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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 distance of about six feet from the microphone but at
shorter distances the bass response becomes boosted; the effect becomes increasingly
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
instrument, 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 independent of

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the microphone’s polar response.
Typical relationship of microphone distance to
frequency response for ribbon-velocity bi-
directional microphone.
Another area where proximity effect can
be turned to an advantage is to make things
sound more “real than real”. For example,
many voices and certain musical
instruments produce fundamental 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 real life. In
contrast, using a microphone with strong proximity effect on such sound sources could
result in 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 to their voices. By knowing how to work with the proximity
effect, the engineer can get several useful effects without resorting to a “box”.
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General Tips for Using Ribbon Microphones
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from a distance of a couple of feet, and increase the working distance a little if several
instruments are being used.
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Normal working distances are about a foot or two from the instrument.
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several feet from the instrument. For larger string sections, placing the microphone
slightly above the instrumentalists and angled down; a distance of three or four feet will
do the trick nicely.
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filtering. The bass is full and rich while the top remains clean with no clatter. Mic the

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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 the microphones apart, one over the bass strings
and the other over the high strings. The farther 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”
pattern a couple of feet from the center of the soundboard.
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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 a ribbon microphone does not add any
undesirable elements to the sound. Basically, what you hear is what you get.
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microphones at a distance of ten feet from the floor, 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.
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distance of several feet. For a drum set, placing the microphone(s) at a distance of four to
six feet above the kit works very well without the cymbals sounding “splattered”. 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.
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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 system, 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.