Royer-labs R-122 User Manual download pdf (Page 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 seconds.

4. When the microphone becomes operational, bring the channel fader to 0-dB (unity) and use

the trim to set desired level. This technique maximizes the signal-to-noise performance of the

preampliﬁer or console input channel.

5. When disconnecting the microphone, bring the channel fader down and unplug the

microphone from the cable. It is also advisable to deactivate the phantom power switch

before unplugging the microphone whenever possible.

6. If the studio has the microphone lines brought to a patch bay (tie lines), never crosspatch a

microphone line when phantom is applied or the monitor volume is raised. This could cause

damage to your microphone, preampliﬁer or monitor speakers.

Operation

There are a few important facts about ribbon microphones that are key in understanding how to

use them intelligently.

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

very strong. Due to this directionality, the R-122 should be placed at 1.3 times the distance

normally used with omni-directional microphones, or at about the same distance used for

cardioid microphones. This method is used to achieve the same ratio of direct to reﬂected

sound.

2. In the horizontal plane, the R-122 does not discriminate against the highs off axis; nor does it

boost highs on axis. Therefore, several instruments or vocalists can be placed in front of the

microphone without favoring the performer positioned in the center of the group.

Several performers can be grouped at both the front and back of the microphone, with one

proviso: since the outputs are out of phase at the front and back of the microphone,

cancellation can result if, for example, two tenors are placed at opposite sides at equal

distances and they are singing in unison, so listen to the feed before committing to it.

3. When using the R-122 to record loud signal sources, placing the microphone slightly off axis

relative to the signal source (either horizontally or vertically) minimizes the effect of high

pressure sound levels displacing and possibly damaging the ribbon element.

4. Never attempt to “test” the R-122 or any ribbon microphone with an ohmmeter or continuity

tester. On an active microphone, damage to the delicate electronics could occur; on a passive

ribbon microphone, a blown ribbon could result.

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Royer-labs R-122 User Manual Page 6