Royer Labs R-122 MKII Live Series Active Ribbon Microphone

Manufacturer's Description from Royer

The R-122 Live is a road-optimized version of our phantom powered R-122 ribbon microphone. The R-122 Live's output is on par with phantom powered condenser mics and it produces the warm, realistic sounds that only ribbon mics can deliver. Along with its smooth, natural response, the R-122 Live virtually eliminates the shrill high-end often encountered with live guitars, brass and drum cymbals. Push up the faders and there's the instrument in all its fullness, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.

The R-122 Live 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 sensitivity to -37 dB. The R-122 Live can be used on extremely long cable runs with minimal RF interference and signal loss, and the ribbon element cannot be damaged by phantom power, miswired cables or electrical glitches.

The R-122 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5-microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-122 Live's exceptionally smooth high frequency response, it needs far less eq'ing than is usually required with condenser and dynamic microphones.

The R-122 Live accurately reproduces what you hear at the sound source. If your goal is to capture something the way it really sounds - that ripping electric guitar, that wailing trumpet, that full kit - and you've found that reproducing that sound was next to impossible, put up some Royer Live Series mics and get ready. The R-121's response is flat and well balanced, with a deep, non-boomy low end, well defined and realistic mids, and a smooth and natural sounding high end response that's never edgy or sibilant.

The R-122 Live is backed with Royer's lifetime warranty to the original owner, and the first re-ribbon is free. We expect it to work as hard as you do, so we stand behind it the whole way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.

The R-122 Live's pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong - position the mics "ears" to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic's null, isolating the monitor from the mic's pickup areas.

The R-122 Live's proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It's an integral piece of the magic of all Royer R-series microphones.

The R-122 Live is similar to the R-121 Live, but the faster transient response and larger size of the R-122 Live's audio transformer translates into more open highs and a tighter, more focused low end response. Because of the R-122's faster transient response and tighter low end, engineers often choose them over R-121's for drum overheads and percussion. R-121 Live's tend to edge out R-122 Live's on electric guitars and brass, but it's a matter of taste. If it's mostly electric guitars and/or brass, we usually suggest going with the R-121 Live. The R-122 Live is just as good on these instruments, but you may not need (or want) the additional top-end openness (from the faster transient response) and you certainly won't need the higher sensitivity on these high SPL applications. If you plan on using the mics primarily for drum overheads and/or percussion, we heartily recommend going with the R-122 Live.

When it's time to mix the band, push up the faders and you'll see why FOH engineers love their R-122 Live's. When the instruments sound real, fitting them into the live mix is a breeze.

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

Applications

Drum Overheads
Percussion Instruments
Electric Guitar
Acoustic Guitar
Solo Brass
Horn Sections
Solo Saxophone

About Manufacturer

After years of designing and manufacturing microphones in Los Angeles, David Royer teamed up with Rick Perrotta, former President and co-founder of the prestigious Matchless Guitar Amplifier Company, and together with studio owner Rafael Villafane and musician/marketing director John Jennings, formed Royer Labs, a California based company dedicated to the development and production of high quality ribbon microphones and transducer elements. DAVID ROYER Best known for his ribbon mics, David has designed countless other mics and outboard devices that are in use throughout numerous LA studios. When David's not designing new gear, his idea of fun is climbing desert mountains or pounding dirt roads in his new pickup. RICK PERROTTA Rick Perrotta's name may sound familiar - he and Rafael Villafane owned LA's Baby-O Recorders during the 80's, then Rick went on to co-found Matchless Guitar Amplifiers, where he was President and Production Chief of the prestigious amp line until 1995. At the helm of Royer Labs, Rick brings an extraordinary level of craftsmanship to every Royer microphone (hold one in your hand and you may never give it back!). JOHN JENNINGS John worked for years as a guitar player and singer, in the studio and on the road. He took an 8-year detour into the corporate world as VP Sales & Marketing for an LA communications firm, but came to his senses in 1996 and ditched the suit to get into pro-audio manufacturing and sales. John handles sales and marketing for Royer Labs. RAFAEL VILLAFANE Rafael Villafane co-founded Baby'O Recorders with Rick. He has produced a #1 and numerous top ten hits in the US and abroad. He drinks too much. Owns a club in Acapulco (Baby'O). If you can prove you own a Royer product, the first ten tequilas are on him---really. Drives too fast. Been doing a record for ten years he STILL can't finish. Has a six-second attention span. He torched a school with young pal Jeff "Skunk" Baxter in Mexico City when they were kids. What else? Oh yeah, he's Mexican... nobody's perfect. CHRIS PERROTTA As another co-founder of Matchless Amplifier Company, Chris was responsible for the high quality detail work that Matchless is famous for, including the light up "dashboard" and three dimensional logo. At Royer, Chris is the chief mechanical designer and another confirmed precision freak. Every Royer microphone owes its beauty and elegance to Chris wonderful interpretations of the designers art.

Fixed (Set) vs. Floating Pickups in Jazz Archtop Guitars

Jazz archtop guitar pickups comparison floating versus fixed. There are two options available while choosing the correct pickup in an arch top guitar - a set pick up, also known as fixed or a floating pickup. It is important to know which one suits your style before you purchase a jazz archtop guitar. In this video we explore the differences between them and let you listen to samples of each. If you are in the market for an archtop guitar, call the experts at Sound Pure and they will give you the best help and advice in picking out the perfect guitar to suit your needs. Call or email today!

Signal Chain
- Eastman AR680 John Pisano Signature Mahogany sn 8111 Archtop
- Eastman AR905CE Classic 5020 Archtop Guitar
- Comins 17" Concert Model Archtop Guitar
- Henriksen JazzAmp 110 Guitar Combo Amplifier
- Royer Labs R-122 MKII Active Ribbon Microphone
- Sennheiser E609 Silver Microphone
- Vintech Audio X73i Pre/EQ
- Lynx Aurora 16 I/O D/A and A/D Converter

Sound Clips

Royer Labs recording of Holly Cole's "Waters of March"

1. Royer Labs SF - 24 Active Stereo Ribbon Microphone 2. Royer Labs R-122 MKII Active Ribbon Microphone 3. Neumann U87Ai Microphone 4. Apogee Digital AD-16x 16 Channel A/D converter 5. DW Fearn VT-2 Tube Dual Mic Preamp 6. API Audio 212L 200 series Preamplifier

Sample of Holly Cole's "Waters of March" recorded with a Royer SF-24 on piano and a Royer R-122 on the acoustic guitar. The SF-24 is placed at the curve of the piano and pointed towards the middle. Also miking the piano is two Neumann U-87's miked close and spaced low and high over the strings with all mics going into API 212L mic Preamps and into an Apogee AD16 A/D converter. The guitar is miked with an Royer R-122 ... (view more)

Sample of Holly Cole's "Waters of March" recorded with a Royer SF-24 on piano and a Royer R-122 on the acoustic guitar. The SF-24 is placed at the curve of the piano and pointed towards the middle. Also miking the piano is two Neumann U-87's miked close and spaced low and high over the strings with all mics going into API 212L mic Preamps and into an Apogee AD16 A/D converter. The guitar is miked with an Royer R-122 on the neck and is going into the DW Fearn VT-2 Preamp. This sample is presented here at 192 kbps and at a sample rate of 44,100. Enjoy! (view less)