royer 122v, Operation Instructions Manual & User Manual

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placed closer to the soundboard.
For capturing a piano in stereo, place a pair of R-122s apart, one
over the bass strings and the other over the high strings. The far-
ther 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 response of a ribbon
microphone is very useful for electric guitars and 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-122 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 record-
ings.
Choirs and Orchestras
can be picked up well with two R-
122s. 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 nat-
ural when recorded with a pair of R-122s. For a drum set, plac-
ing the microphone(s) at a distance of four to six feet above the
kit works very well without making the cymbals sound splat-
tered. A kick drum should be miked at a distance of at least 18
inches and possibly used in conjunction with a blast filter to
prevent excessive ribbon movement. If the front head has a hole
cut in it, position the microphone away from the hole to avoid
excessive air blasts. An R-122 used as a mono room mic, four
to six feet in front of the kit and compressed, will yield a sur-
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