royer R-122 Guide

ROYER Labs
Model R-122
Active Ribbon
Velocity Microphone
Operation Instructions
Manual &
UsersGuide
Made in U.S.A.

TABLE OF CONTENTS
Model R-122 Ribbon Microphone
TableofContents page1
Introduction page2
Description page3
Applications page4
UserGuide page5
Operation page6
Amplification Considerations page 8
TheSweetSpot page11
Other Types of Microphones page 13
Proximity Effect and Working Distance page 13
GeneralTips page14
Stereophonic Microphone Technique page 18
Specialized Recording Techniques page 20
Care and Maintenance page 21
ALittleBitofHistory page22
Features and Specifications page 24
Electrical Specifications page 24
Mechanical Specifications page 25
Polar Pattern and Frequency Response page 26
Notes page27
Warranty page28
1

R-122 Active RibbonMicrophone
Congratulationsonyour purchaseofa RoyermodelR-122 active
ribbon microphone! The R-122 is a handcrafted precision instru-
ment capable of delivering superior sound quality and overall high
performance. The R-122 is the most technologically advanced rib-
bon microphone available, representing a new level of perform-
ance for ribbon microphones. The R-122 active ribbon micro-
phone combines sophisticated technological advancements with
old-world craftsmanship. The R-122 incorporates a head amplifi-
cation system which 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 re-
cording 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 as-
sociated with ribbon microphones and phantom power. It is the
first commercially available ribbon microphone that requires
phantom power to operate.
• No longer is it necessary to mate a ribbon microphone to
an ultra-high gain, low noise preamplifier for optimum
performance. Any preamplifier of nominal gain will pro-
vide good results with the R-122.
• No longer is it necessary to carefully consider impedance
matching characteristics when choosing a preamplifier.
Microphone loading is a non-issue and consistent perform-
ance is assured, regardless of the preamplifier’s impedance
characteristics.
• No longer is it necessary to be concerned about damaging
the ribbon element with phantom power. The active elec-
tronics provide true isolation between the ribbon element
and the outside world.
• No longer is it necessary to worry about the effects of long
2

cable runs degrading the performance of your ribbon mi-
crophone. The active electronics provide a robust low im-
pedance signal suitable for all types of preamplifiers.
This operator’s manual describes the R-122, its function and
method of use. It also describes the care and maintenance re-
quired 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 micro-
phone.
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 leav-
ing 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-122’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 when-
ever questions arise on the use and care of your R-122 active rib-
bon microphone.
Description
The Royer Labs model R-122 is a compact, active, bi-directional
(figure-eight) velocity type ribbon microphone designed for pro-
fessional 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 to shock and vibration, and per-
formance is unaffected by changes in temperature or humidity.
However, ribbon microphones are somewhat more sensitive to di-
rect blasts of air, and the R-122 is no exception to this rule. Dis-
cretionary use of a windscreen or pop screen, such as the PS-100,
PS-101, WS58 or equivalent is highly recommended for situations
3

like close miking, especially with vocalists or certain types of per-
cussion and wind instruments.
Applications
The Royer Labs model R-122 is a versatile microphone and is ide-
ally 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
make it especially useful for vocalists and announcers. Female
vocalists often benefit from the R-122’s ability to capture high fre-
quencies 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 fre-
quency characteristics and is devoid of microphone induced ring-
ing. Phase-related distortion and irregular frequency peaks are
conspicuously absent. These features make the R-122 ribbon mi-
crophone an ideal choice for strings, woodwinds, percussion and
amplified instruments. Theater organs and electric guitar amplifi-
ers sound big and fat, without unnatural coloration, when recorded
with the R-122. Acoustic pianos can be captured accurately with-
out the comb-filtering effects associated with condenser micro-
phones.
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 distor-
tion components associated with condenser microphones, they
sometimes have difficulty tracking the signal, resulting in ringing
and edgy sounding tracks. With ribbon microphones, ringing is al-
most 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 digi-
tal recordings free of microphone related edginess.
User Guide
Using The R-122 Active Ribbon Microphone
4

The head amplification system utilized in the active series ribbon
microphones 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 as-
pect 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. Active ribbon microphones require phantom power to
operate.
To ensure long service life of 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 perfectly for
many years. We offer the following information as 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 or-
der. Standard microphone cables provide a shielded ground car-
ried along to Pin-1, and a balanced differential signal carried
along 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 phantom
activated, we suggest that if it is possible to de-activate the phan-
tom power prior to plugging the microphone to the cable, do so.
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 vol-
ume control be raised. Serious damage to your speakers could re-
sult from this activity.
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
5

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 pre-
amplifier or console input channel.
5. When disconnecting the microphone, bring the channel fader
down and unplug the microphone from the cable. It is also advis-
able 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
The R-122 ribbon microphone is a versatile device capable of ac-
curate sound reproduction. Ribbon microphones are different
from other types of microphones and there are a few important
characteristics that are key to understanding how to use them in-
telligently.
1. The R-122 is a side address, bi-directional microphone and
the rejection in the “dead” areas is very strong. Due to this direc-
tionality, ribbon microphones 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, ribbon microphones do not discrimi-
nate 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 positioned in
the center of the group.
6

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 a ribbon microphone with loud signal sources,
placing the microphone slightly off axis relative to the signal
source (either horizontally or vertically) is all that is required for
efficient operation. This practice will help to protect the ribbon
from extraneous stretching and possible damage.
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 rib-
bon 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 ribbon
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. In a situation like this the microphone
would likely continue to operate but performance could be com-
promised considerably. Re-ribboning the microphone would be
necessary to restore normal operation.
Amplification Considerations
Almost any microphone preamplifier, with nominal gain charac-
teristics and a built in 48-volt phantom power source will give ex-
7

cellent results with your R-122 active ribbon microphone. Unlike
standard ribbon microphones, which depend on a proper imped-
ance match to deliver optimal performance, the input impedance
of your preamplifier will have minimal affect on the R-122’s op-
erational performance because the ribbon element is isolated from
the outside world via the microphone’s electronics package.
Careful consideration should be given to the quality of the micro-
phone preamplifier. Studio grade preamplifiers usually sound
much better than cheap ones. Headroom, noise floor, transparency
and coloration are all factors to consider in determining 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). A good preamplifier should sound natural with no sign
of edginess or excessive noise. Vacuum tube preamplifiers sound
warm, yet wonderfully airy and transparent. Do not expect a vac-
uum tube preamplifier to be as quiet as a solid-state preamp, as
electron emissions from tubes tend to convey more “thermal”
noise than transistors. Transformer coupled designs tend to sound
punchy and full-bodied and offer the added benefit of true elec-
tronic isolation. This greatly enhances their ability to interface
with other equipment with minimal noise or hum. There are many
excellent 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 audition one
or more preamplifiers before you buy one, do so. Microphones
and preamplifiers work together like a team and some are just bet-
ter matches than others.
The R-122 active ribbon microphone is capable of substantial out-
put signal, especially if used in conjunction with very loud signal
sources such as guitar amplifiers. It is therefore recommended
that the microphone preamplifier have a switchable pad to prevent
the possibility of overloading the preamplifier’s input stage elec-
tronics. Some preamplifiers are more thoughtfully designed than
others, and a suitable pad will be provided before the active elec-
tronics, not incorporated into a “feedback loop” as some cheaper
8

models do. The latter design could still produce unwanted distor-
tion due to overloading, even if the pad were used. Although this
is rarely an issue, we felt that it was important to cover the sub-
ject.
Since we’re on the subject of preamplifiers, we thought you might
find the following information on stereo microphones an insight-
ful addition to the information presented on preamplifiers, per-
formance and selection.
Stereo Microphones and Ground Loops
Some preamplifier designs are prone to developing internal
ground loops when used in conjunction with stereo or multi-
channeled microphones, such as the Royer model SF-12. Al-
though this phenomenon is uncommon, 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 60 Hz or 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. Stereo microphones usually have a multi conductor
cable that carries the two independent signals and then splits them
to a pair of standard three-pin XLR outputs. This pair of three-pin
connectors 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 in-
ternal ground are too great, a ground loop develops. The problem
may be more apparent with some low output microphones such as
dynamics or passive ribbons because of the high gain required for
efficient 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 in-
put. Listen to the output of the preamp. All should be quiet ex-
cept for the mic signal. Now plug the second side into the next
preamplifier input. If a noise or buzz develops, you have a
9

ground loop. The ground loop may be very slight or more pro-
nounced, 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 adapter 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
and a matter of personal taste. Some people love the effect of col-
oration while others strive for absolute transparency.
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 vo-
cal is being performed on a ribbon microphone, you can actually
boost the upper end frequencies to the point where the ribbon mic
emulates the performance curve of a condenser mic with excellent
results. This is not to say that a ribbon microphone can replace a
quality condenser mic in all circumstances, but the EQ friendli-
ness 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 microphones distortion products and self noise;
garbage that contributes to an unnatural, unpleasant sound. Be-
cause distortion and self-noise are almost non-existent in ribbon
microphones, high levels of EQ can be used without adding
harshness or excessive noise.
10

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 alternat-
ing 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 impossi-
ble and the result is usually hum or buzz. Passive ribbon micro-
phones can potentially manifest this condition to a greater degree
because of their higher gain requirements. Even an active ribbon
microphone like the R-122 is not completely immune to this phe-
nomenon. With vintage ribbon microphones that employ large
bulky magnet structures, 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.
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 (working dis-
tance 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.
11

This condition is called the sweet spot because the microphone
and the sound source are in a harmony of sorts; the acoustic infor-
mation is exciting the microphone in such a fashion that the re-
sulting 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 re-
veals it. The sweet spot can be extremely variable since it de-
pends 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 micro-
phone. 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.
12

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; if not, treble losses due to phase loss
will result. The exception here is for large condenser micro-
phones, 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 gen-
erally 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 rib-
bon 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 prox-
imity 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 20 dB compared to an unequalized micro-
phone with a flat response. This discrimination is independent of
the microphone’s polar response.
Typical relationship of microphone distance to frequency response for ribbon-
velocity bi-directional microphone.
13

Another area where proximity ef-
fect can be turned to an advan-
tage is to make things sound
more “real than real”. For example, many voices and certain mu-
sical instruments produce fundamental frequencies within the
bass range (below 150 Hz 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 micro-
phone with strong proximity effect on such sound sources could
result in a “better than real” sound since the boosted bass re-
sponse will compensate for the weak fundamentals in the sound
source. Since the fundamentals are present, but weakened, boost-
ing them by several dB will sound “natural”, even though the
sound has been “sweetened”.
Radio and television announcers have long relied on proximity ef-
fect 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”.
General Tips for Using Ribbon Microphones
Brass Instruments and ribbon microphones 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 be-
ing used.
Reed Instruments sound full and never edgy when captured with
a ribbon microphone. Normal working distances are about a foot
or two from the instrument.
14

Strings sound very sweet and clean with ribbon microphones.
Place the microphone several feet from the instrument. For larger
string sections, placing the microphone slightly above the instru-
mentalists and angled down; a distance of three or four feet will
do the trick nicely.
Pianos sound excellent with ribbon microphones 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 the microphones 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” pattern a couple of feet from the center of the soundboard.
Amplified Instruments should be miked from a distance of one
foot or more. The smooth undistorted response of a ribbon micro-
phone 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 ambi-
ence to the mix. You will find that a ribbon microphone does not
add any undesirable elements to the sound. Basically, what you
hear at the amp is what you get in the control room.
Choirs and Orchestras can be picked up well with two micro-
phones. Place the microphones at a distance of ten feet above 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.
Drums and Percussion instruments sound natural when micro-
phones are placed at a distance of several feet. For a drum set,
15

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 ex-
cessive ribbon movement. If the front head has a hole cut it in,
position the microphone away from the hole to avoid excessive
air blasts.
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 Sound Sources
Certain types of instruments and sound sources contain powerful
blasts of air that are potentially harmful to ribbon microphones of
all types. Kick drums, close miked horns, guitar and electric bass
amplifiers are typical examples of the sources that can produce
potentially harmful air currents. You can place your hand in front
of a sound source (where the microphone is to be placed) to feel if
the air pressure is excessive. A simple technique that can avert
damage due to overstressing the ribbon is as follows: After choos-
ing the optimum placement for the microphone, slightly angle the
microphone is 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
potential harm to the ribbon.
Example of the vertical posi-
tioning technique
Slight off-axis positioning will
minimize stressing the ribbon
on loud sound sources.
Example of horizontal posi-
tioning technique
Angling the microphone slightly
16

will minimize stressing the rib-
bon. 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 in-
struments
17

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 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.
Mid-Side Technique
In the early days of stereo radio broadcasting, there was a need
for a mic setup that would allow for simultaneous stereo and
mono feeds from the same mic array and for electronic “fiddling”
with the severity of the stereo effect.
18
Figure 1
Classic Blumlein or “coincident” miking
technique
Sound Source
(CENTER)
45 Degrees 45 Degrees
Coincident pair as seen from
directly above

The result was what is known as the mid-side microphone tech-
nique. One mic faces sideways, one faces forward as shown in
19
Figure 2 - Typical M-S miking technique
Mid-Side pair as seen from directly
above
S
M
Sound Source
(Center)
90 Degrees
Figure 3 - Typical M-S connection set-up
XLR Female
(to mic)
XLR Male
Right Output
XLR Male
Left Output
(phase reversed)
“Y” adapter mic splitter with phase reversal
1 1
1
2 2
2
3 3
3
0
MID
SIDE
NOTE:
INVERT PHASE
Mixer Channel
Pan LEFT
Mixer Channel
Pan RIGHT
Mixer Channel
Pan CENTER