royer R-122V, Operation Instructions Manual & User Manual

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Microphone Technique
General Tips for Using the Royer R-122V
The following are good basic starting places for recording with
the R-122V. 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 following techniques
can be found at royerlabs.com.
Brass Instruments and R-122V 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-122V. Normal working distances are about a foot or
two from the instrument.
Strings sound very sweet and clean when recorded with R-122Vs.
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-122Vs 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 a pair of R-122Vs apart,
one over the bass strings and the other over the high strings. The
farther 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.
The response of the R-122V is particularly lush on electric guitar.
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