royer 122v, Operation Instructions Manual & User Manual

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are present, but weakened, boosting them by several dB will
sound “natural,” even though the sound has been “sweetened.”
Radio and television announcers have long relied on proximity
effect to produce a full, rich, “authoritative” quality in their
voices. By knowing how to work with the proximity effect, the
engineer can get several useful effects without resorting to a
“box.”
Microphone Technique
General Tips for Using the Royer R-122
The following are good basic starting places for recording
with the R-122. 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 follow-
ing techniques can be found at royerlabs.com.
Brass Instruments
and R-122s 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-122. Normal working distances are about a foot or
two from the instrument.
Strings
sound very sweet and clean when recorded with R-
122s. 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-122s 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
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