Microphone Placement Techniques
In this video, Producer/Engineer Ross Hogarth demonstrates his dual microphone positioning techniques using a Royer ribbon mic and an SM57 on a guitar cabinet. He uses an open speaker to clearly show where to put mics and how to avoid phasing issues. He also explains why he likes these positions.
Guitarist Shawn Tubbs compares the Royer R-10 ribbon microphone, retailing for $495, to Royer’s flagship R-121 ribbon microphone.
The R-10 is a fraction of the cost of our flagship R-121 and is an excellent studio and live ribbon microphone. Get to know it in this video.
Tim Pierce has been one of LA’s most prolific and in-demand session guitarists for decades. In this video Tim walks us through his basic home recording techniques (including gear used), builds guitar layers on a track, and demonstrates how he mixes a Royer R-122V and a Shure SM57 to shape and record his guitar tones.
In this video (#2 of 3) Tim digs into some great Hendrix and Stevie Ray Vaughan electric guitar tones, demonstrating how he blends an R-122V and an SM57 to capture all the tone and power his 4×12 cabinet is kicking out.
Tim Pierce – Recording Heavy Rock Electric Guitar with an R-122V and SM57, #3 of 3 video series
In the final video of this 3-video series, Tim plays HEAVY detuned electric guitar and also does some screaming solos. Have some fun and turn this one up loud! Tim shows how he blends an R-122V and an SM57 to capture all the crunch and power of these styles.
Royer R-122 MKll Test Tracks
The R-122 MKll is an extremely versatile phantom-powered ribbon mic with a switchable -15 dB pad and a switchable bass roll-off set at 100 Hz, 6 dB per octave.
Electric Guitar:
Recorded by Michael Wagener at WireWorld Studio, Nashville TN.
Recording chain: R-122 MKll to Chandler TG2 preamplifier. Recorded to Nuendo.
Close miking electric guitars with an active ribbon mic can result in microphone or preamplifier distortion if:
1) the mic’s output is too hot for the following mic pre to handle.
2) the mic is plugged into a preamplifier with low input impedance, or
3) the phantom power is weak,
The R-122 MKll’s -15 dB pad reduces the mic’s sensitivity to 2 dB LESS than our non-powered R-121, giving the mic plenty of headroom even in torturous conditions.
In this video, we used a 100-watt Metropoulos 12,000 amplifier turned up LOUD but fairly clean. See recording notes below.
R-122 MKll Test Tracks Continued
Dobro:
Randy Kohrs playing Dobro. Recorded by Randy Kohrs at Slack Key Studio, Nashville TN.
Recording chain: R-122 to RTZ preamplifier. Recorded in Pro Tools
1) R-122 MKll on Dobro, flat with no switches engaged.
2) R-122 MKll on Dobro with low cut switch engaged.
3) R-122 MKll on Dobro with low cut switch and -15 dB pad engaged.
4) R-122 MKll on Dobro with low cut switch and -15 dB pad engaged. The RTZ preamp is turned up 15 dB to make up for the -15 dB pad, bringing in more of the personality of the pre.
Johnny Hawthorn – Pawn Shop Tattered Heart
Electric Guitar – R-121 & SM57
Produced & engineered by Charley Pollard
Recorded at Dragonfly Creek Recording
Recording chain: R-121 and SM57 one inch from the cabinet into Shadow Hills Equinox mic pre’s (Steel setting). Both mics were bussed to one track – the mix was committed to while recording.
Recorded to ProTools.
Amps: Blankenship Carry-On 1×12 combo and Marshall JCM 800 into 4×12. Marshall used for solos.
Pawn Shop Tattered Heart received the Guitar Player Magazine’s “Editors’ Faves” for July 2014. Available through CD Baby & iTunes
“Real Thing” (Johnny Hawthorne)
“Dusty Woman” (Johnny Hawthorne)
Drums (Room) – 2 R-121’s
Electric Guitars – R-121
Engineer – Randy Staub. Producer – Matt Hyde
Recorded at Warehouse Studios – Vancouver, B.C.
R-121’s on electric guitars and two R-121’s as drum room mics.
“Heads Explode” (© Dave Wyndorf)
Heavy Electric Guitar – R-122V
Producer/Engineer: Johathan Merkel
Guitarist/Producer/Engineer Jonathan Merkel shows how he records heavy electric guitar using an R-122V to capture his Mesa Boogie Uberschall amplifier. This song was recorded in Jonathan’s home studio, so the 1×12 Mesa cabinet was placed in a closet for isolation.
Jonathan shows complete signal paths for all phases of electric guitar recording and walks us through blending R-122V, SM-57 and DI tracks for his final guitar sound.
“Fuel the Fire” (Jonathan Merkel)
Johathan’s company Beat Chamber is a Contemporary Song Catalog and Production company which produces and licenses music for film, TV and multimedia projects. https://www.beatchamber.com
Drum Overhead – SF-24
Drum Rooms – SF-24, R-122V, R-122
Electric Guitar – R-121
Recorded by Ross Hogarth
Recorded at Sweetwater Studios, Ft. Wayne IN
Grammy winning Producer/Engineer Ross Hogarth gives a seminar on his techniques for recording drums and electric guitars with ribbon mics, showing mic placements and letting us hear mixed and isolated ribbon-recorded tracks.
Drums – Kenny Aronoff
Full mix, conversation about drum mic placement, then isolated ribbon-recorded tracks.
“Dreamer” (Lukas Rossi)
Electric Guitar – Lukas Rossi
Full mix, conversation about electric guitar mic placement, then isolated ribbon-recorded tracks.
“Dreamer” (Lukas Rossi)
Percussion – R-121
Electric Guitar – R-121
Violin – R-121
Drum Overheads – SF-12
Recorded and mixed by Steve Kempster.
Song 1. R-121’s on all percussion instruments and brass. SF-12 stereo ribbon mic on drum overhead.
Recorded to Sony 4038 (16-bit) at Signet Sound, Hollywood, CA.
1. Commercial (Roger Wojahn & Scott Wojahn)
Song 2. R-121’s on all percussion instruments, guitars and violin. SF-12 stereo ribbon mic on drum overhead.
Recorded on a Sony 3348 (16-bit) at Village Recorders, Los Angeles, CA.
2. Commercial (Roger Wojahn & Scott Wojahn)