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audiokid 28 May 2010

Wow, do yourselves a favour and check out all the tracks and pics here Inside The Mix:
http://royerlabs.com/insidethemix.html Royer Ribbon Mics - Inside The Mix
http://royerlabs.com/library/
121, 122, 122v, SF-12, SF-24 with different pre's like Gordon, Millennia, Neve 8088 board. 1176 compressor to Trident console preamps to Chandler EMI compressor.. images with pics showing a/b/c/d . Even Coles, Schoeps CMC6-U's
Its really excellent.

Kudo's Royer!

I want a SF-24 now.

Comments

audiokid Fri, 05/28/2010 - 22:48

Same... I've been following more links with interviews now. Even though some of you can't afford these mics, its really worth digging into this website and listening and watching the clips.

The interview with Chad Cromwell Royer Labs - Chad Cromwell is excellent. He really nails the ribbon concept /comparing how they have give warmth to DAW's like 2 inch tape did before digital.

I really feel I am finally maturing as an engineer this last year and finally understanding how to make digital recording better. PT, cubase, Sonar etc, they all sound similar, (closed in and cool). If you really want to make a difference and take your DAW sound further...
Hybrid DAW systems/ good analog summing, ribbons mics is IMHO, really the best step forward. Add good monitors and acoustic treatment, most any DAW will sound excellent.

audiokid Mon, 09/17/2012 - 14:55

Go here, Royer and Bricasti, glorious! The MA 300's sounds pretty sweet with the Piano.

[[url=http://[/URL]="http://www.youtube…"]Royer Labs Ribbon Microphones - YouTube[/]="http://www.youtube…"]Royer Labs Ribbon Microphones - YouTube[/]

[GALLERY=media, 343]Arturo Sandoval plays Trumpet and Piano, Royer ribbons demonstration at Sweetwater #2 - YouTube by audiokid posted Mar 25, 2015 at 8:21 PM[/GALLERY]

audiokid Wed, 01/16/2013 - 12:38

I just received two R 121 today and just wanted to say, everything about Royer is first class. These came very well packaged, so neatly placed in double boxing. C/W shock mount, very useful Velcro cable tie, velvet sock and a classy wooden box with nice padding to store them in. Can't wait to use them now.

Thanks John @ Royer!

audiokid Fri, 02/08/2013 - 00:04

F, listen to this friken Royer and the guys chops. Does it get any better. And with the Bricasti M7 I might add. Listen to how smooth it is right to the top. And the keys with the SF-24 and 2 MA300. I love it., And here I am selling my mic. Its killing me.

[GALLERY=media, 343]Arturo Sandoval plays Trumpet and Piano, Royer ribbons demonstration at Sweetwater #2 - YouTube by audiokid posted Mar 25, 2015 at 8:21 PM[/GALLERY]

TheJackAttack Tue, 03/10/2015 - 19:21

I never went on tour with any of those cats. They would just come to whatever town I was in and need orchestra backup for the gig. I got on the sound crew for a couple others when the back up band didn't use a proper horn. It pays that a lot of young sound guys look down their nose at anything but their pet music genre. And have a Macgyver like rep for competence, lol. I shit you not, one guy said to me "Who is Ellington?"

anonymous Tue, 03/10/2015 - 19:29

TheJackAttack, post: 426120, member: 34377 wrote: And have a Macgyver like rep for competence, lol. I shit you not, one guy said to me "Who is Ellington?"

Pathetic. Its hard to have any hope left when you see how little involved the current crop has with the past. Where do they think it all comes from.

I have such a great story with Eddie and me playing a club in Pincher Creek . Eddie, if you ever find this post, please chime in and we will laugh together.
You are an amazing Trumpet player. It was a pleasure playing with you. Great memories.

anonymous Tue, 03/10/2015 - 19:42

Chris, post: 348924, member: 1 wrote: I want a SF-24 now.

Jensenmann, post: 426089, member: 18198 wrote: What a player, holy moly. He would sound great through anything....
Someone should give [="http://www.beyerdynamic.com"]Beyer[/]="http://www.beyerdyn…"]Beyer[/] a Grammy for still making their [[url=http://="http://beyerdynamic…"]M160[/]="http://beyerdynamic…"]M160[/] ribbons. These mics have stood the test of time. I always(!) prefer them over the [="http://royerlabs.com"]Royer[/]="http://royerlabs.com"]Royer[/] [[url=http://="http://www.royerlab…"]121[/]="http://www.royerlab…"]121[/] we have with one exception in 3 years. Royers are not my cup of tea.

Since we are on this topic, I ended up getting a SF24 and a Millennia pre and recently sold a pair of Bricasti's. That combo with those reverbs is amazing. The above recording with Sandoval is how smooth and quick that combo really is. I had a pair of R-122 and sold them with total regret (server bills). Had a few M 160's but they didn't sound like these. But then again, I didn't have the millennia back then either. Maybe one day I'll get another one.
Royer are wonderful microphones. Grouped with the M-2b, its why you can't stop raving about it.

DonnyThompson Thu, 04/09/2015 - 03:18

TheJackAttack, post: 426120, member: 34377 wrote: I S#$% you not, one guy said to me "Who is Ellington?"

Which is precisely the time when you pull out a cheap, spare, student model horn that you carry for emergencies.... and then beat him nearly to death with it, making him repeat after you, over and over,
"Sir Duke! Now SAY IT! SIR DUKE!! Take The A-Train! Mood Indigo! Sophisticated Lady! Say It, You good for nothing, dumb-assed, disco curve EQ setting - fader pushing - chair moistening - oxygen wasting - stupid M******F%#er!!!

I guarantee a standing ovation. ;)

rjuly Fri, 11/20/2015 - 10:04

I can't say enough good about Royer mics. I was recently financially ill advised enough to try out an sf-12. Still recovering from that purchase.... But, hahahahahahahha IT'S MINE, ALL MINE, ALL MINE!!!!! Seriously smooth, overheads to die for, piano transients intact, and on and on. Very versatile. Now need to start saving for some 121's....

DonnyThompson Sat, 11/21/2015 - 04:08

rjuly, post: 433944, member: 48681 wrote: I was recently financially ill advised enough to try out an sf-12.

At first I misread your post - the "ill advised" part - thinking, "how could he not like the SF12? " Having used (and loved) it on a few occasions myself over the years...

Then I re-read your post, and realized that it was the cost part that you were referring to ... LOL.

But then again, you get what ya pay for, right? Considering how great they sound- I've never heard any Royer mic not sound great, nor have I ever talked to anyone who hasn't thought the same thing - and adding to that their warranty, their mics are well worth the prices they command.

As far as I know and the last time I checked, all Royer mics carry a lifetime warranty, parts and labor, as long as the mic is with the original owner. For a company to stand behind its product to that extent, well, that's really saying something.
I'm trying to think of another high end audio manufacturer that offers a warranty like that, and I honestly can't think of any. Some offer pretty good warranties - but lifetime P&L?
There may be a few others who do, but off the top of my head, I can't think of any... it's pretty rare - and a testament to just how well-crafted their mics are.

I was reading an article several years back in Pro Audio, or SOS maybe... where a Royer company rep said that, "no one who has ever auditioned a Royer mic has ever returned it..."

Based on my own experiences with them ( I LOVE the combination of a Royer 121 and a Senny 421 or SM57/58 on guitar amps) - I don't have any problems in believing that claim to be true. ;)

drbluegrass Thu, 10/27/2016 - 10:11

I'm getting an outstanding sound recording acoustic guitar and banjo (bluegrass music) with an R122 and sE Electronics RN17 in m/s configuration using the R122 as the side mic. Nice full bodied, punchy sound, from both instruments with just the right amount of top end and air (not too much, just right). Wonderful sound.

audiokid Thu, 10/27/2016 - 10:27

drbluegrass, post: 442678, member: 49743 wrote: I'm getting an outstanding sound recording acoustic guitar and banjo (bluegrass music) with an R122 and sE Electronics RN17 in m/s configuration using the R122 as the side mic. Nice full bodied, punchy sound, from both instruments with just the right amount of top end and air (not too much, just right). Wonderful sound.

right on. If you care to upload a track anytime (see Upload a File button) , please feel free to do that! Its always good to listen ( banjo!!) to what our members are doing. Makes for more fun discussion too. :)

Boswell Thu, 11/10/2016 - 10:10

drbluegrass, post: 442678, member: 49743 wrote: I'm getting an outstanding sound recording acoustic guitar and banjo (bluegrass music) with an R122 and sE Electronics RN17 in m/s configuration using the R122 as the side mic. Nice full bodied, punchy sound, from both instruments with just the right amount of top end and air (not too much, just right). Wonderful sound.

Have you looked at an X-Y phase plot of your resulting L and R channels? I believe you are mistaken in thinking you have a true M-S pair of channels when using a pressure-sensitive microphone for the M channel and a velocity microphone for the S-channel. The signals from these two are inherently 90 degrees out of phase, and will not combine correctly in the M-S decoder to form a stereo signal. This error cannot be corrected by simple inversion of one of the signals (use of the "phase" button on a console or in a DAW). For proper M-S, you must use a pair of microphones that have the same phase angle response to a sound waveform.

Many studio pros are not aware of this problem either. Don't worry, though - if you like the sound you are getting from the instruments (when listening in stereo but also checking with your monitoring switched to mono), keep it, and ignore the technicalities.

thatjeffguy Fri, 11/11/2016 - 09:15

Boswell, I'm glad you pointed out this important fact. You have posted on this in the past and I so appreciate you sharing your technical expertise with us. After I became aware of this through reading of your earlier posts on the subject, my curious brain is trying to wrap itself around the "why" of the 90 degree phase difference. It seems that one of the two types of mics must start it's voltage change at the wave's zero point while the other must begin at either a peak or a valley of the wave.
I would love to know how this works... I have a very fundamental understanding of electricity... I know how induction works and how a capacitor works, though I lack any understanding of how a varying capacitance is used in a circuit to control voltage. If you could explain the basics in lay language I could quiet my curious brain!
Thanks again for your contribution to this community!
~Jeff

Boswell Fri, 11/11/2016 - 09:58

It's to do with the two different principles of operation of the transducers on fig-8 ribbon mics and condenser mics.

The transducer in a ribbon mic operates according to Faraday's magnetic induction rule, where it's the velocity of the current-carrying element in a magnetic field that generates the e.m.f. (voltage). In a capacitor (condensor) mic, the output voltage is a function of the amplitude of the movement of the diaphragm. If you take a simple sound field in the form of a pure sinewave, the the maximum amplitude occurs at maximum pressure difference, where the maximum velocity occurs as the pressure difference goes through zero. These happen 90 degrees apart in the sinewave cycle, hence the phase difference in the output voltage of the two types of microphones when placed in the same sound field.

I hear you say: "Ah, but what about moving-coil (dynamic) microphones - surely they use magnetic induction and therefore must be velocity-sensitive?" Yes, they are, but they are also housed in a vented container that has baffles and mazes for the sound coming from the rear to negotiate. This is done in order to give the microphone a cardioid or similar directional response and not a fig-8. The rear baffling alters the phase characteristic to be nearer that of a pressure-sensitive microphone rather than a velocity-sensitive. Hence it's possible to use a mix of moving-coil and condenser microphones to make a functional M-S array, but to get a fig-8 pattern for the S channel involves using either a dual-diaphragm condenser microphone switched to fig-8 pattern or else a pair of dynamic cardioids pointed in opposite directions and wired in inverse-series. The inverse-series wiring can, of course, be achieved by summing separate input channels with one of them polarity-inverted in your mixer or DAW.

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