User's Manual

If the outputs of the two microphones are equal (or made equal using gain controls), the stereo
pickup will be similar to that of two microphones placed as a Blumlein X-Y pair, delivering a
wide stereo image.
As you reduce the level of the “side” microphone, the width of the stereo image will narrow
until, with the side microphone turned all the way down, you have just the “mid” mic panned
center for a mono pickup.
If the outputs of the “mid” and “side” microphones are recorded on separate tracks, the electrical
connections shown in Figure 3 can be made at the mixer outputs and the adjustment of the stereo
separation can be done during mixdown, rather than during the actual recording.
Specialized Recording Techniques
Recording on the Back Side of the R-122V
The R-122V 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
phenomenon as a result of this offset ribbon construction is that the R-122V records slightly
brighter on its back side than on its front (logo) side, when the microphone is three feet or closer
to the sound source. This can be extremely useful when a brighter response is desirable, such as
when recording acoustic instruments or vocalists.
When recording vocals on either side of an R-122V, a quality pop filter (such as the Royer
PS-101 metal pop screen) is essential to protect the ribbon element from wind blasts. As with any
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Figure 2
Typical M-S miking technique