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Royer R-121 - Why Is It Great For Guitar? Ribbon Microphones
Old 7th November 2014
  #31
It depends on the amp/cab, the distance from it, and the preamp. I've pulled out lows, low mids, and even high mids on occasion with the Royer. But there are no set rules (sometimes it's no EQ).
Old 8th November 2014
  #32
Quote:
Originally Posted by NathanEldred View Post
It depends on the amp/cab, the distance from it, and the preamp. I've pulled out lows, low mids, and even high mids on occasion with the Royer. But there are no set rules (sometimes it's no EQ).
About how far back do you mic up a cab with this method? I'm doing 2 fingers from the grill at the moment.
Old 8th November 2014
  #33
Gear Nut
Another advantage is because the ribbon is offset slightly along the front to back axis, the mic is voiced somewhat differently depending on whether you point the back at the cab with the preamp polarity reversed or just point the front at the cab like normal. The difference isn't that huge; certainly the difference with some of the variable-voiced condensers like the FAT on Bock 195 or the Forward/Neutral/Gentle switch on that one Lauten mic will be greater than the difference between the front or back on the 121. But in the event that one side is sounding good but it's like 95%, you can try the other side, and often that'll get you all the way to 100%.
Old 22nd September 2015
  #34
Here for the gear
 
N8Sound's Avatar
I use the 121 on my Fender Twin from 1968 and my maple neck strat, and it's all I need. If I want a slightly brighter tone I use the back side of the mic as I do on acoustic guitars. Preamp choice is also very important with it. It's pointless to have a mic of this caliber if it's not paired with a top notch preamp. I either use it with an AEA rpq or the Meris 440. The kind of music I record is Americana/Blues and guitars are often clean or slightly overdriven. I doubt I'll ever use a 57 with it unless I'll be dealing with a very dark sounding guitar with rosewood fretboard and will need to really open up the sound. But again, the 57 is harsh on clean guitars and unnatural sounding. The placement of the 121 is indeed crucial, I usually keep it 9 inches away from the grill, right in front of the cone. This is one of the best mics ever made. If I could afford to, I'd probably use ribbons on everything except for maybe vocals.
Old 22nd September 2015
  #35
Quote:
Originally Posted by justinheronmusic View Post
Is it common to EQ the Royer and or the dynamic mic it's paired with?
For my sense of aesthetic, it's better to move it until you get the tone you want (and use an IBP on the other one if that causes you phasing issues). And if you can't get the tone you want by moving it, swap it for another mic. But as someone says above, the only rule here is that there are no rules.
Old 22nd September 2015
  #36
Quote:
Originally Posted by N8Sound View Post
I use the 121 on my Fender Twin from 1968 and my maple neck strat, and it's all I need. If I want a slightly brighter tone I use the back side of the mic as I do on acoustic guitars. Preamp choice is also very important with it. It's pointless to have a mic of this caliber if it's not paired with a top notch preamp. I either use it with an AEA rpq or the Meris 440. The kind of music I record is Americana/Blues and guitars are often clean or slightly overdriven. I doubt I'll ever use a 57 with it unless I'll be dealing with a very dark sounding guitar with rosewood fretboard and will need to really open up the sound. But again, the 57 is harsh on clean guitars and unnatural sounding. The placement of the 121 is indeed crucial, I usually keep it 9 inches away from the grill, right in front of the cone. This is one of the best mics ever made. If I could afford to, I'd probably use ribbons on everything except maybe on vocals.
I agree with what you said. Besides guitar cabs, the rear side is great for acoustic guitar. The 121 is also also great on trumpets and saxophone
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