Originally posted by littledog:
Haven't had a chance to try this myself, but was curious if anyone else had used this method, on which applications, and how they liked it?

The Royer demonstration CD has a couple of examples and comparisons. You get a more present sound from the backside. Not the high-top-end of condensors. It has the tendency of "harshness" but only very slightly.
It's of course nice to have a second option in a mic.

M.

I grab some cans and go into the live area wit hthe gtr amp and use Fletchers twist the mic around till it sounds good tip. I am sure that has caused me to use the back side of the mic.,

:)

I tried it in you honor, on Saturday Little Dog.. but I prefered the front!

:w:

i AM honored!

Perhaps we should call it the "hindquarters" technique... (adds a whole new meaning to the expression: "sounds like arse")

the Royer flip is mostly effective on acoustic instruments like mandolin and guitar. It will give you slightly more transients and still give you the ....um, wood.
I've tried it in a variety of situations and that's where I ended up. Turns out, the front sounds fine.

I am interested in getting the Royer 121 for recording guitar amps.

Will I have enough gain with my Brent Averill 1272? I usually open the output of the 1272 all the way and keep the input gain knob no higher than 45 (12 o'clock).

BTW I am also in the market for a second preamp and have noted Fletcher's excitement over the new Phoenix Audio model.

I have used the back side of the Royer many times on: acoustic guitar, mandocello and lead vocals with stellar results. The singer *must* have a concept of mic technique.
Benjy

Originally posted by Sir Bob:
I am interested in getting the Royer 121 for recording guitar amps.

Will I have enough gain with my Brent Averill 1272? I usually open the output of the 1272 all the way and keep the input gain knob no higher than 45 (12 o'clock).

BTW I am also in the market for a second preamp and have noted Fletcher's excitement over the new Phoenix Audio model.

Hey Sir Bob. You alraedy have a british, class A "Iron" pre-Amp....Why not try the Universal Audio 2-610. 1. Tubes and 2.(most important for your ribbon mic) it can match the impedence of your royer...and really let it speak...plus it has some very usable EQ.

Well I've sent some e-mails to Royer Labs and Brent Averill and it looks like I'll have no trouble with an R-121 going into the BA 1272 so long as I am micing a guitar amp, which is my main desire.

But you are right. Antother flavor of mic preamp would be appropriate. I am considering the Phoenix Audio DRS and of course the long awaited preamp from the people who make the RNC. And if that weren't enough, the Lawson L47MP is also in my mind.

[QUOTE]Originally posted by Sir Bob:
[QB]Well I've sent some e-mails to Royer Labs and Brent Averill and it looks like I'll have no trouble with an R-121 going into the BA 1272 so long as I am micing a guitar amp, which is my main desire.

...oh absolutely...just did that myself recently. But I must say a ribbon into that 2-610 is wonderfull.

Regarding the ribbon mic pre amp. The most satisfying solution for me has been the Vipre. Hands down. This thing not only impedence matches better (ribbons seem to like 600ohms) but has 75-78 db of output. While obviously source dependant, ribbons need more gain and I couldn't get it from my Flamingo's, ISA 215s, Orams, Demeters or Manleys
and various others. Not only that, the Vipre sounds great on almost all other mics too.

I'm currently doing acoustic tracks and searching for Royer threads. Reading through this old thread... I find a pair of Royer 122 on the backside, using a Lavry MP10 is just beautiful. What a great combo for acoustic guitar. I'm certain the 121 would be just as great.

excerpt from lavryengineering

Precise gain settings from 20 to 75 dB’s give the MP10 enough range to easily accommodate low output Ribbon microphones, or feed unbalanced “-10dBV” inputs using high output condenser microphones without loss of signal quality.