Royer Labs R-121 - Manual (Page 10)

Microphone Techniques
General Tips for Using the Royer R-121
The following are good basic starting places for recording with the R-121. These positions are
known to produce good results, but experimentation is the key to getting the most out of your
recordings! Photographs of many of the following techniques can be found at
www.royerlabs.com .
Brass Instruments and R-121s go together very well. Mic the instrument from a distance of a
couple of feet, and increase the working distance a little if several instruments are being used.
Reed Instruments sound full and never edgy when captured with an R-121. Normal working
distances are about a foot or two from the instrument.
Strings sound very sweet and clean when recorded with R-121s. Place the microphone several
feet from the instrument. For larger string sections, try placing the microphone slightly above the
instrumentalists and angled down; a distance of three or four feet will do the trick nicely.
Pianos sound excellent when recorded with R-121s and are free of phase-related comb filtering.
The bass is full and rich while the top remains clean with no clatter. Mic the piano at a distance
of one foot to several feet, depending on taste. A more direct, up front sound will be achieved
when the microphone is placed closer to the soundboard.
For capturing a piano in stereo, place a pair of R-121s apart, one over the bass strings and the
other over the high strings. The farther the mics are from each other, the wider the stereo spread.
For a more direct stereo effect, the microphones may be placed in an X-Y pattern a couple of feet
from the center of the soundboard.
Amplified Instruments should be miked from a distance of 6-8 inches or more. The smooth
undistorted bass response is very useful for electric guitars and particularly electric bass.
Since guitar amplifier speakers are often beamy, experiment with mic placement to find just the
right spot. Placing the mic at greater distances from the speaker cabinet adds more room
ambience to the mix. You will find that the R-121 does not add undesirable elements to the
sound. Basically, what you hear at the amp is what you get in the control room and in your
recordings.
Choirs and Orchestras can be picked up well with two R-121s. Place the microphones at a
height of ten feet or so and a few feet behind the conductor. The microphones should be spaced
apart approximately one foot and angled, one toward the left and one toward the right.
Drums and Percussion instruments sound full-bodied and natural when recorded with a pair of
R-121s. For a drum set, placing the microphone(s) at a distance of four to six feet above the kit
works very well without making the cymbals sound splattered.
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