royer R-121
, Operation Instructions Manual & User Manual

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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 record-
ings.
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 nat-
ural when recorded with a pair of R-121s. For a drum set, plac-
ing the microphone(s) at a distance of four to six feet above the
kit works very well without the cymbals sounding “splattered.”
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, keep the microphone away from the hole to avoid excessive
air blasts. An R-121 used as a mono room mic, four to six feet
in front of the kit and compressed, will yield a surprisingly
large, full drum sound.
For closer miking of a kick drum (10 to 18 inches), the micro-
phone should be leaned forward at a 45-degree angle to protect
the ribbon element from excessive plosive forces. This micro-
phone position also provides good kick drum isolation because
the top of the microphone, which does not pick up sound, is
aimed at the rest of drum kit. Again, keep the microphone well
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