royer R-122, Operation Instructions Manual & User Manual

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Strings sound very sweet and clean with ribbon microphones.
Place the microphone several feet from the instrument. For larger
string sections, placing the microphone slightly above the instru-
mentalists and angled down; a distance of three or four feet will
do the trick nicely.
Pianos sound excellent with ribbon microphones 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 placed
closer to the soundboard.
For capturing a piano in stereo, place the microphones 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” pattern a couple of feet from the center of the soundboard.
Amplified Instruments should be miked from a distance of one
foot or more. The smooth undistorted response of a ribbon micro-
phone 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 ambi-
ence to the mix. You will find that a ribbon microphone does not
add any undesirable elements to the sound. Basically, what you
hear at the amp is what you get in the control room.
Choirs and Orchestras can be picked up well with two micro-
phones. Place the microphones at a distance of ten feet above the
floor, 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 natural when micro-
phones are placed at a distance of several feet. For a drum set,
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