Royer R121 vs Royer R122 vs SM57 for overheads.

de_mix · 24th August 2006

I just got my Royer 121. I could go off about how much I love it, but I'm curious about which mic is more suited for drum overheads. Does the R122 (being an active design) have more high end detail than the R121? Also I know SM57's are the industry standard for drum overheads. Should I just use those and forget about ribbon mics for overheads? Thanks.

De Mix

stevetgn · 24th August 2006

Quote:

Originally Posted by de_mix

I just got my Royer 121. I could go off about how much I love it, but I'm curious about which mic is more suited for drum overheads. Does the R122 (being an active design) have more high end detail than the R121? Also I know SM57's are the industry standard for drum overheads. Should I just use those and forget about ribbon mics for overheads? Thanks.

De Mix

I wouldn't say an SM57 was the Ind Std for overheads. To be honest, it would be the last mic I would use for overheads. As for your Royer, I would sooner use them as room mics for the kit as opose to overheads. They're also a great guitar amp mic. (along with a 57)

Zwinter · 24th August 2006

I would personally not use a 57 for overheads. Between the 121 and 122 I would pick the 122 and have done so in the past. It's got some added top end that will really make the cymbals shine.

de_mix · 24th August 2006

Actually, I'd never in a million years even think of using 57's as overheads. dfegad Humor doesn't really come across well on a forum I guess.

But I do love how ribbon mics record cymbols. Just wanted to know if there is a big tonal difference between the two mics. I already own 1 R121. I could easily buy another, or buy 2 R122's. Obviously it would be cheaper to just pair up my R121.

De Mix

Solunaris · 24th August 2006

yeah. Get some SDC or LDC's. Me personally, I use Red Type A tube mics with R6(C12) capsules or Nuemann KM56's.

Mark Warren · 24th August 2006

The answer to the question is: Royer SF-12

jpupo74 · 24th August 2006

Quote:

Originally Posted by de_mix

Actually, I'd never in a million years even think of using 57's as overheads. dfegad Humor doesn't really come across well on a forum I guess.

But I do love how ribbon mics record cymbols. Just wanted to know if there is a big tonal difference between the two mics. I already own 1 R121. I could easily buy another, or buy 2 R122's. Obviously it would be cheaper to just pair up my R121.

De Mix

Hmmm...

Convince me it was a joke!

Pupo

mixerguy · 24th August 2006

Quote:

Originally Posted by de_mix

Actually, I'd never in a million years even think of using 57's as overheads. dfegad Humor doesn't really come across well on a forum I guess.

....... De Mix

ha ha ha.....

not funny.

godcity · 25th August 2006

Quote:

Originally Posted by Mark Warren

The answer to the question is: Royer SF-12

the SF-12 is great, but i'm liking the AEA R88 better.

de_mix · 25th August 2006

Quote:

Originally Posted by jpupo74

Hmmm...

Convince me it was a joke!

Pupo

57's for overheads an industry standard??? That should be obvious enough I think

tmcconnell · 25th August 2006

I can't imagine using the sm57 for overheads either, so I'm just going to ignore it. However, I just AB'd the 121 and the 122 - and they are very, very, similar. Yes, the 122 has slightly sweeter highs (probably impedance related?). Using my GR pre's they were so close I could not pick one over the other in a blind test without the other to compare it to. I would get the 122 for noise performance alone esp if I had long cable runs.

cab · 25th August 2006

Use Royers as overheads all the time. 121's or 122's - you can't go wrong either way. Probably if i had to pick one, the 122 would be the one (long runs and/or better matching with most pres). I'll echo the prior post about the SF-12 (awesome overhead) - the SF24 is no slouch either.

de_mix · 26th August 2006

hmm.. OK I'm sold on the SF12. How would it compair to an AKG C24? I know there's a big price dif, but I'm curious cause this is the mic I normally use for overheads.

Mark Warren · 27th August 2006

Not sure how SF12 compares to C24, but in general the SF12 has a very smooth high end. It definitely never sounds harsh or brashy or brittle. Only thing to note though with any of these ribbons including the SF12 is that they are figure 8. So you are definitely going to pick up some of the room and/or ceiling on the back side.

If this something you want to avoid be prepared to baffle/scrim/gobo above the mic.

Also note that it isn't just two 121's pasted together, it's a slightly different capsule as well. IMO it really accels on overheads!

de_mix · 28th August 2006

Thanks for the feedback. I think I'm just going to buy it. I was going to get the Great River EQ to compliment my GR preamp. But I already have other great eq's avalible to me in the studios I work at. I think I'd rather have a great stereo ribbon mic. You won't find that in many studios.

Here's another question. How much high end to you find you have to add (db) to get it to where it sounds sweet?

de mix

whitepapagold · 29th August 2006

can't compare to a c24. Apples and oranges. Ribbons and condensers. I will say I put a c24 up at a drum session last year just cause I wanted to play with it (hadn't had access to one before)- Its been on every session since. That mic is insane. Just amazing. I dont know if the reissues are any good, never used one.

24th August 2006	#1
de_mix Registered User Joined: Jul 2006 Posts: 22 Thread Starter	Royer R121 vs Royer R122 I just got my Royer 121. I could go off about how much I love it, but I'm curious about which mic is more suited for drum overheads. Does the R122 (being an active design) have more high end detail than the R121? Also I know SM57's are the industry standard for drum overheads. Should I just use those and forget about ribbon mics for overheads? Thanks. De Mix

24th August 2006	#3
Zwinter Lives for gear Joined: Oct 2005 Location: Boston Posts: 639	I would personally not use a 57 for overheads. Between the 121 and 122 I would pick the 122 and have done so in the past. It's got some added top end that will really make the cymbals shine. __________________ Zach Winterfeld Chariots of Fire, "you can't put in what God's left out" "It is slightly illegal, but who the f@*k cares at this point."

25th August 2006	#11
tmcconnell Lives for gear Joined: Aug 2005 Location: Cincinnati, OH Posts: 552	I just did that shootout - except for the sm57 I can't imagine using the sm57 for overheads either, so I'm just going to ignore it. However, I just AB'd the 121 and the 122 - and they are very, very, similar. Yes, the 122 has slightly sweeter highs (probably impedance related?). Using my GR pre's they were so close I could not pick one over the other in a blind test without the other to compare it to. I would get the 122 for noise performance alone esp if I had long cable runs.

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24th August 2006	#5
Solunaris Lives for gear Joined: May 2005 Posts: 1,698	yeah. Get some SDC or LDC's. Me personally, I use Red Type A tube mics with R6(C12) capsules or Nuemann KM56's.

24th August 2006	#6
Mark Warren Lives for gear Joined: Oct 2005 Location: USA Posts: 661	The answer to the question is: Royer SF-12

25th August 2006	#12
cab Gear Head Joined: Mar 2003 Location: Los Angeles, CA Posts: 65	Use Royers as overheads all the time. 121's or 122's - you can't go wrong either way. Probably if i had to pick one, the 122 would be the one (long runs and/or better matching with most pres). I'll echo the prior post about the SF-12 (awesome overhead) - the SF24 is no slouch either.

26th August 2006	#13
de_mix Registered User Joined: Jul 2006 Posts: 22 Thread Starter	hmm.. OK I'm sold on the SF12. How would it compair to an AKG C24? I know there's a big price dif, but I'm curious cause this is the mic I normally use for overheads.

27th August 2006	#14
Mark Warren Lives for gear Joined: Oct 2005 Location: USA Posts: 661	Not sure how SF12 compares to C24, but in general the SF12 has a very smooth high end. It definitely never sounds harsh or brashy or brittle. Only thing to note though with any of these ribbons including the SF12 is that they are figure 8. So you are definitely going to pick up some of the room and/or ceiling on the back side. If this something you want to avoid be prepared to baffle/scrim/gobo above the mic. Also note that it isn't just two 121's pasted together, it's a slightly different capsule as well. IMO it really accels on overheads!

28th August 2006	#15
de_mix Registered User Joined: Jul 2006 Posts: 22 Thread Starter	Thanks for the feedback. I think I'm just going to buy it. I was going to get the Great River EQ to compliment my GR preamp. But I already have other great eq's avalible to me in the studios I work at. I think I'd rather have a great stereo ribbon mic. You won't find that in many studios. Here's another question. How much high end to you find you have to add (db) to get it to where it sounds sweet? de mix

29th August 2006	#16
whitepapagold Banned Joined: Oct 2005 Location: Penis Kitchen, California Posts: 1,230	can't compare to a c24. Apples and oranges. Ribbons and condensers. I will say I put a c24 up at a drum session last year just cause I wanted to play with it (hadn't had access to one before)- Its been on every session since. That mic is insane. Just amazing. I dont know if the reissues are any good, never used one.