Royer R-122 MKII Ribbon Microphones
The Royer R-122 MKII Ribbon Microphones are the world's first stereo pair of phantom powered, active ribbon microphone. The R-122 MKII takes a classic, first-of-it's-kind (active) ribbon microphone to a new and better place of functionality and performance - if that were even possible!
In 2002, the Royer R-122, the world's first phantom powered, active ribbon microphone was introduced. It was a revolutionary development in ribbon mics, combining impedance matching circuitry with condenser-like output levels that allowed the R-122 to be used on even the quietest sound sources. It also allowed the mic to be paired to virtually any preamplifier. The Royer R-122 MKII takes the R-122 to a whole new level, delivering unprecedented flexibility for ribbons via the addition of a switchable -15 dB pad and a switchable bass-cut filter. The switches are completely out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-122. The switches are located on the back of the microphone and recessed to prevent accidental activation.
Royer R-122 MKII Ribbon Microphones Features
- Phantom powered circuitry provides high output and impedance matching
- -15 dB pad before the mic's electronics gives more headroom when activated.
- Bass cut filter reduces proximity effect and bass below 100 Hz when activated
- 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
Royer R-122 MKII Ribbon Microphones 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 Â±3 dB
- Sensitivity: -36 dB (re. 1v/pa Â±1 dB)
- Switchable Pad: -15 dB
- Switchable Bass Cut: 100 Hz (6 dB per octave)
- Self-Noise: < 18 dB
- Output Impedance: 200 Ohms, balanced
- Output Connector: Male XLR 3-pin (Pin 2 Hot)
- Rated Load Impedance: 1K-Ohm minimum
- Maximum SPL: 135 dB @ 30 Hz
- Power Requirements: 48-Volt Phantom Only
- Supply Current: 4 mA
- Dimensions: 206mm L X 25mm W (8 1/8â? L X 1â? W)
- Weight: 309 grams (10.9 oz)
- Finish: Burnished Satin Nickel / Matte Black / Chrome (optional)
- Accessories: Protective wood case, mic sock
- Optional Accessories: Wind screen, shock mount
- Microphone Warranty: Lifetime to original owner (repair or replace at Royer's option)
- Ribbon Element Warranty: One Year
Royer R-122 MKII Ribbon Microphones Applications
- Electric Guitar Amps
- Acoustic Guitar
- Drum Overheads
- Percussion Instruments
- Brass and Woodwinds
- Horn Sections
- Acoustic Piano
- Acoustic Guitar
- Solo Strings & String Sections
- Choirs and Orchestras
- Commercial Broadcast
- Voice Over
What We Think - Royer R-122 MKII Review
"The Royer R-122 is truly a jewel of a microphone and has become one of my favorite tools in the studio. The phantom-powered impedance matching preamplifier takes the already legendary performance of the Royer R-121 to a whole new place of sonic luscious definition in the realm of ribbon microphones. The R-122's preamplifier (still requires a traditional microphone preamplifier) boosts the signal up to roughly the equivalent level of a high quality small diaphragm condenser. But the impedance matching is what improves the clarity and definition afforded by this mic. It still retains the ' focused-weight' in the mid-range but the top-end has a little extra something while the lows come out with a more clearly defined edge on the notes.
"In the studio I have found that this microphone works exceptionally well for a wide variety of applications, be it for drums, cymbals such as high hats and rides, electric guitar cabinets, acoustic guitars, bowed stringed instruments, and even bass guitar cabinets. I've been a fan of ribbon microphones for hi-hat mic-ing and the R-122 is excellent in this regard. The figure-8 pattern is choice for canceling the bleed from the left crash cymbal.
"Acoustic guitars sound natural with a tight mid-range. The thicker ribbon which is characteristic of the Royer microphones really helps to maintain this incredible focus and the aforementioned 'weight' to the mid-range. Royers are perfect for finding their spot in a dense mix, which is why they are so popular with rock engineers.
"Plus, they just love being close in on loud sources. I mean, just get one right in on the grille of a guitar amp. It won't complain. However, the output may be a little hot and you may be better served by a R-121 in this case. But, you will be just fine with a standard Inline-PAD attenuator. The Royers can even go in on the outside of kick drums - *** Just make sure that you angle the ribbon downward by 45-degrees so that the sound pressure gradually goes across the ribbon instead of smacking it flat. The benefit is that you get good rejection of the cymbals and other drums off the top of the mic. And as drum room mics in a small room, I sometimes like to angle the R-122 back so that the sound of the kit goes across the length of the ribbon somewhat. This gives a good natural ambient sound that does not compete with the overheads - it's a good natural spacial-reverb in a way instead of adding more energy into the drum mix which can overly cloud your drum mix. But you can always distance mic the drums (or strings, ensembles, whatever...) with these as your primaries and you should be pretty happy.
"And as is the case with the Royers (and many other ribbon mics), the R-122 can be turned around and you'll experience a slightly lifted high frequency response by recording into the rear of the mic. Though the sound off of the front is not dull, this is still a great option for eking a little more top-end out of the sound.
"When measured up, the Royer R-122 is a no-brainer. She ain't cheap, but what woman worth taking home to mama is? But when it comes time for what she's made for, well, then she's easy - a true master of her craft. A matched stereo pair will be your studio's faithful workhorse for years. There is a reason why Royers have a host of first-call, top-rate, and legendary engineers using them. Isn't it time you find out for yourself what it is that these mics do for them? Trust me; you'll know why right away."
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