| |
    |

|
Royer
R-122 Phantom Powered
Active Ribbon™ Microphone |
|
|
Introducing
the ACTIVE RIBBON™ SERIES
The R-122 is the world’s first phantom powered,
active ribbon™ microphone. Yes, you need to turn phantom power on
when you use an R-122! The payback is far more output than you’ve
ever imagined
from a ribbon microphone. More importantly, the R-122’s
electronics place a perfect impedance load on the ribbon element,
greatly expanding the number of preamps that will match up well
with the R-122.
Before the R-122, all ribbon microphones were
passive devices, meaning that they were 15 to 30 dB less sensitive
than average phantom powered condenser mics. In addition, passive ribbon mics depend entirely
on the input impedance of the preamp they’re mated with to
set the proper impedance to the ribbon element. Simply put, even
the best ribbon mics can sound mediocre if they’re plugged
into the wrong mic pre. With the R-122, gain and impedance issues
are a thing of the past.
|
|
|
|
| Gain |
|
Conventional
ribbon microphones need high-quality, high-gain microphone preamplifiers
to record softer sound sources like acoustic instruments, vocals
and room ambience. The R-122 is as sensitive as a condenser microphone,
allowing you to use practically any mic preamplifier or board
record even the quietest sounds. The R-122 contains a fully balanced,
discrete head amplifier system utilizing a specially wound toroidal
transformer and ultra-low noise FET’s. This system is extremely quiet,
can handle 135 dB SPL, and brings the R-122’s output to –38
dB! Go ahead and plug an R-122 into any preamplifier with average
gain - you’ll get full Royer performance and you’ll
have enough level to drive any recording medium.
The R-122’s higher sensitivity does not
create additional self-noise. All of the R-122’s increased level comes from
its large, specially wound toroidal transformer - that wonderful
thing called “free gain.” The level at the transformer
is actually hotter than the level at the output of the microphone.
The phantom powered circuitry provides impedance conversion only,
adding no noise of its own. This system took years to perfect and
is currently in patent pending status.
|
| Impedance
Matching |
The R-122’s
active electronics provide a perfect load to the ribbon element
at all times, allowing the R-122 to deliver 100% of its full
sonic potential regardless of the input characteristics of the
following mic-pre. Due to its low-impedance output, R-122s can
be used on extremely long cable runs with minimal signal loss.
A good impedance match is critical to getting
the most from a ribbon microphone. An impedance mis-match will load
the ribbon improperly, resulting in loss of low end, diminished body,
lowered sensitivity and overall compromised performance. The R-122’s
ribbon element lives in a perfect world - it sees the optimal impedance
at all times regardless of the following equipment, so its performance
is never compromised by the effects of improper loading. In addition,
the ribbon element cannot be damaged by phantom power, electrical
glitches or miswired cables.
|
| Patented Offset Ribbon
Technology |
The R-122’s proprietary offset ribbon
transducer (Patent Number: 6,434,252) positions the ribbon element
closer to the front (logo) side of the microphone than the rear.
This arrangement gives the ribbon more room to move within the prime
magnetic field while maintaining full frequency response during high
SPL recordings. It’s an integral piece of the magic of all
Royer R-series microphones.
|
| Recording With
the R-122 |
The R-122 is every bit as tough as
our road-worthy R-121 and it can be used on high SPL applications
with equally good results. It is a first-call mic for electric
and acoustic guitars, drum overheads, brass, percussion, electric
and acoustic bass, piano, strings, woodwinds, Foley, and many other
applications.
Does the R-122 sound any different than the
R-121? Due to
the similarities between the two mics, it’s a good question.
The mics have a similar look, they both share the same offset-ribbon
transducer and large ribbon, and apart from the R-122’s increased
sensitivity, their specs are the same. So do they sound any different? The
answer is yes, depending on what you’re recording.
Sonically, the R-122 has a slightly tighter and
more focused low-end response and its transient response is faster
than the R-121's, giving the perception of a more open top-end.
These differences are functions of the R-122's large toroidal transformer
(versus the R-121's more traditional IE core transformer).
Between the two mics, we have found that
people tend to prefer R-122’s on drum overheads, acoustic instruments and vocals.
With electric guitars and brass it’s a toss up, with some
preferring the R-122’s tighter low-end and more open top-end
response and others preferring the straight ahead R-121 response. Our
opinion is that if you’re recording mostly electric guitars
and/or brass, the R-121 is the way to go. The R-122 is just as
good on these instruments, but you may not need (or want) the additional
top-end openness and you certainly won’t need the R-122s
higher sensitivity with these high SPL applications. If you plan
on using the mics for drum overheads, vocals, piano, acoustic instruments
or very quiet sound sources, we highly recommend you choose the
R-122.
Note: The R-122 puts out a lot of level when used to
record very loud electric guitars. To keep from overdriving the
front end of your mic pre, we recommend the use of a Shure or
Neutrik 10dB in-line pad.
|
| Two
Mics In One |
At distances of three feet and
closer, the back of the R-122 records slightly brighter than the
front side. This can be extremely useful when recording acoustic
guitars, vocals, and other sound sources that you may need a slightly
brighter response on.
Two Mics In One -
Recording on the Back Side of the R-121 and R-122
|
| Features |
Phantom powered circuitry provides
high output and impedance matching
High SPL Capabilities
No distortion up to maximum SPL rating
Extremely low residual noise
Ribbon element is not affected by heat or humidity
Absence of high frequency phase distortion
Equal sensitivity from front or back of element
Consistent frequency response regardless of distance
Rear side of mic records slightly brighter when three feet or closer to sound
source
|
| Recommended
Applications |
|
Electric Guitar Amps
Acoustic Guitar
Drum Overheads
Percussion Instruments
Brass and Woodwinds
Horn Sections
Acoustic Piano,
Acoustic Guitar
Harp
Solo Strings & String Sections
Choirs and Orchestras
Commercial Broadcast
Voice Over
|
|
|
Technical
Specifications |
|
|
Acoustic Operating Principle: Electrodynamic pressure
gradient with active electronics
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000 Hz +/- 3dB
Sensitivity: -37 dB (referenced 1v/pa ±1dB)
Self-Noise: < 20 dB
Output Impedance: 200 Ohms, balanced
Rated Load Impedance: 1K-Ohm
Maximum SPL: >135dB
Output Connector: Male XLR 3 pin (Pin 2 Hot).
Dimensions: 206mm L X 25mm W (8 1/8” L X 1” W)
Weight: 309 grams (10.9 oz)
Finish: Dull Satin Nickel/Matte Black
Chrome optional.
|
|
| Polar Pattern |

|
| Frequency Response |

|
| Accessories |
Protective wood case
Microphone sock
Documentation
|
| Warranty |
Lifetime to original owner (repair or replace at Royer's
option)
Ribbon Element Warranty: One Year |
List Price: $1,895.00
Patent Number: 6,434,252 |
|