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 a ribbon microphone with loud signal sources,
placing the microphone slightly off axis relative to the signal
source (either horizontally or vertically) is all that is required for
efficient operation. This practice will help to protect the ribbon
from extraneous stretching and possible damage.
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 rib-
bon microphone, a blown ribbon could result.
5. Always provide adequate protection for your R-122, or any
ribbon microphone. If the microphone is to remain set up on a
stand when not in use, place a “mic sock” (supplied with every
Royer microphone) over it until it is to be used. Do not carry the
microphone around without placing a mic sock over it. Failure to
follow this commonsense practice may yield a stretched ribbon
and compromised performance.
6. Do not allow the microphone to be dropped on hard surfaces
such as floors or tables - depending on how the mic falls, you
could stretch the ribbon. In a situation like this the microphone
would likely continue to operate but performance could be com-
promised considerably. Re-ribboning the microphone would be
necessary to restore normal operation.
Amplification Considerations
Almost any microphone preamplifier, with nominal gain charac-
teristics and a built in 48-volt phantom power source will give ex-
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