Figure 2
, and they are connected as shown in
Figure 3
.
When the outputs of the pair of microphones are combined at the
mixer, they will behave like a pair of microphones, one facing
left and one right, provided that the sensitivities of the mics are
equal and the mixer channel gains are equal.
Turning down the side mic all the way will give a mono pickup;
as the side mic is turned up, the stereo effect will gradually ap-
pear.
If the outputs of the “mid” and “side” microphones are recorded
on separate tracks, the electrical connections shown in
Figure 3
could be made at the mixer outputs and the adjustment of the ste-
reo separation could be done during mixdown, rather than during
the actual recording - very useful for live recording.
Specialized Recording Techniques
Recording on the back side of the R-122
The R-122 incorporates an “offset ribbon” design that enables it
to handle high sound pressure levels such as those produced by
loud guitar amplifiers and other instruments. An interesting phe-
nomenon as a result of this “offset ribbon” construction occurs
at
the microphone’s backside
, which affects the high frequency and
low frequency response characteristics within the microphone’s
proximity range. This proximity range is loosely defined as
sound sources that are three feet or closer to the microphone.
Normal proximity effect (increase of bass), which is prevalent on
the R-122 and all ribbon microphones, occurs normally at 4-6 feet
from a ribbon microphone and increases with closeness. Vocalists
and voice-over talents often take advantage of proximity effect to
give an authoritative quality or rich texture to their voice.
Due to the R-122’s unique offset ribbon design, the backside of
the R-122 records somewhat brighter than the front (logo) side,
when the microphone is three feet or closer to the sound source.
This can be extremely useful for recording acoustic instruments
and vocalists where a little less warmth may be desirable. When
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Summary of Contents for R-122
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