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backside of a Royer 121

Member for

21 years 3 months
Just stumbled upon a recording tip at :

http://www.royerlabs.com

Seems that if you record from the backside of the Royer 121, as long as you are within two feet of the mic, you get a brighter sound than from the front. The caveats are that you have to flip the phase and it can't handle high SPLs. Royer describes the backside sound as a condenser-ribbon hybrid.

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?

Comments

Member for

21 years 3 months

archived member Wed, 05/01/2002 - 22:25
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.

Member for

19 years 10 months

Sir Bob Thu, 05/23/2002 - 21:24
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.

Member for

20 years 8 months

RecorderMan Tue, 06/04/2002 - 08:17
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.

Member for

19 years 10 months

Sir Bob Tue, 06/04/2002 - 19:05
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.

Member for

20 years 8 months

RecorderMan Thu, 06/06/2002 - 07:38
[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.

Member for

19 years 10 months

Jim Chapdelaine Sat, 06/08/2002 - 19:21
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.

Member for

21 years 3 months

audiokid Mon, 03/15/2010 - 21:06
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.
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