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Built for the Stage
It's tuned to deliver the best possible sound on stage, along with extra durability. The R-121L is even tougher and more durable than its studio version which makes it a great choice for FOH engineers. It’s built to withstand the bumps and knocks on the road and on stage. The ribbon element thickness is increased from 2.5 microns to 4 for extra protection.
The R-121L eliminates the harsh high-end. You’ll get a great sound instantly and won’t need to EQ out the shrill high-end that’s often associated with live guitars and brass. Push the faders up and you’ll be confident there’s no peaky highs, just an instrument in all its glory.
Highs are usually rolled off when micing up live instruments but with the R-121L you won’t need to do that as it has a slightly reduced, smooth high-end response.
What’s also great is that it’s not affected by heat or humidity. It’s the perfect mic for any live performance setup both indoors and outdoors.
It can also handle high SPL instruments. You’ll find the R-121L can handle high SPL levels from instruments like guitars or brass, without it getting damaged or producing distortion. It offers a max SPL rating of 135dB at 20Hz, and it can handle it all day, every day.
Captures Sound the Way it's Heard
The R-121L accurately captures the sound you hear with your ears. It delivers a warm, realistic tone, with a smooth natural response when mic’d up with electric guitar amps, brass, horns, and percussion. It’s flat and well-balanced with no boomy low-end, realistic mids, and smooth and natural highs.
With extremely low noise output too, your instruments will always sound ultra-clear. No matter the distance of your sound source, the R-121L will always give you a consistent frequency response.
Rejects Bleed on Stage
You’ll be able to easily isolate instruments. The R-121L has a figure-8 polar pattern which effectively rejects sound from the left and right sides, the top, and bottom of the mic. These are effective dead zones that can be used to isolate instruments by positioning the mics in a certain way. Place the mic’s null position towards these sounds and the bleed will be virtually eliminated.
This is ideal for controlling stage bleed. If monitors are close by, a positioning adjustment can place the monitors output in the mic’s null area, isolating the monitor from the mic’s pickup areas.
Patented Offset Ribbon Technology
The first of its kind. The R-121L has an offset ribbon transducer that positions the ribbon elements to the front side of the mic. This arrangement helps to maintain a full frequency response on high SPL applications, giving the ribbon more room to move within the prime magnetic field.
- Extra durable with thicker ribbon element
- Eliminates the harsh high end often associated with live guitars and brass
- Ribbon element is not effected by heat or humidity
- Can handle high SPL instruments without getting damaged or distorting
- Absence of high frequency phase distortion
- Equal sensitivity from front or back of element
- Delivers warm, realistic tone with smooth natural response
- Flat and well-balanced with a non boomy low-end, realistic mids, and smooth, natural highs
- Effective at rejecting bleed from other instruments
- Rejects sounds from left, right, top and bottom
- Offset ribbon transducer that maintains full response on high SPL applications
- Consistent frequency response regardless of distance
- Acoustic Operating Principle: Electrodynamic pressure gradient
- Polar Pattern: Figure-8
- Generating Element: 4-micron aluminium ribbon
- Magnets: Rare earth neodymium
- Frequency Response: 30 - 15000Hz +/-3dB
- Sensitivity: -50dBv Re. 1v/pa
- Output Impedance: 300 ohms @ 1K (nominal)
- Rated Load Impedance: > 1500 ohms @ 300 ohms
- Maximum SPL: > 135dB @ 20Hz
- Output Connector: Male XLR 3 pin (Pin 2 hot)
- Dimensions: 58 x 25mm (LxW)
- Weight: 0.24g