Recording Acoustic Guitar

Here’s another shot from the Henry Mancini Orchestra session showing an R-122 as a spot mic on the sax soloist.

 
In this photo from the same concert, an R-122 was used to capture the solo violinist. The gold SF-24 stereo ribbon microphone to the right of the violinist was used for choir pickup in a later song.

For this small orchestra, all sections were spot miked and a Royer SF-24 stereo ribbon mic was placed over the conductor’s head, an excellent location for getting a realistic audio picture of the orchestra and bringing cohesiveness to the final mix.

Close up on the conductor and SF-24.

Two Royer R-122s spot miking the French Horn section.

Scoring session at Sony with an R-122 spot mic on the timpani.

 
Decca Trees are often used when recording orchestras. Developed in the early 1950s by a team of engineers at Decca Records, this method involves using a spaced stereo pair of mics with an added center fill, usually placed over the conductor. Scoring engineer Alan Meyerson often uses three R-122V’s on the Decca tree, with a backline of condenser mics behind the conductor. This picture was taken during the scoring session for Pirates of the Caribbean, Dead Man’s Chest.

Two R-122V’s as overhead mics on the woodwind section. In this position, the R-122V’s figure-8 pattern picks up the woodwind instruments and also rejects the brass section which is positioned behind the woodwinds.

Another view of the R-122V’s as overheads on the woodwind section.

An additional R-122V is placed behind the bassoon.

A single R-121 was used to capture the three seat trumpet section.

Audio Clip

Ukrainian Radio Television Orchestra
This outstanding audio clip was provided by Russell Dawkins, who used one SF-12 to record the Ukrainian Radio Television Orchestra (sorry, we have no pictures of the recording). The recording chain was: one SF-12, 35 feet Monster cable, Studio Technologies mic pre, 6 feet Monster cable, Apogee A/D converter, coaxial cable, digital in on a portable DAT machine. Recorded at the studios of the Ukrainian Radio/Television Orchestra, Kiev.

Engineers use a wide variety of techniques when recording orchestras or small ensembles, from simply placing one stereo microphone just above and behind the conductor’s head to using several spot mics for each instrument section in conjunction with one to several ambient microphones.

In this section we’ll look at sessions where Royers were used to capture full orchestras as well as smaller ensembles.

Here’s an example of a simple miking technique for full orchestra using one stereo Royer SF-24. The placement is 4-5 feet behind, and several feet above, the conductor.

Some engineers like using multiple microphones when they track acoustic guitar. Blending microphones with different sonic personalities is an alternative to eq’ing – rather than tweaking frequencies, you simply choose from the different sounds available to you through the mics you’ve chosen. You can blend the tracks as you record, or record the mics to separate tracks and decide how you’d like to blend them at mixdown.

There are many ways to combine microphones. One simple way to go is to position an R-122 at the 12th fret (shown above), then add a small or large diaphragm condenser mic off the body of the guitar, aimed at slightly behind the bridge.

Another suggestion is to record a track of ribbon mic and a track of direct signal from the guitar pickup (if your guitar has one). You’ll get the warmth and natural response of the ribbon, with the more immediate feel of the pickup blended to taste.

Here are a few other methods to try.

Space a pair of R-122’s wide apart, one mic near the top of the neck and one near the end of the body, then add a large diaphragm condenser mic (Mojave Audio MA-200 shown) around where the neck of the guitar meets the body. Blend to taste.

Now try the same setup, but with a small diaphragm condenser (Mojave Audio MA-100 shown) 

Try the SF-24 overhead setup with a large diaphragm condenser positioned in front of the guitar. 

A mono R-122 usually sounds best when it’s positioned at about the 12th fret, 5 to 10 inches off the neck. The back side of the R-122 produces a slightly brighter sound than the front side of the mic due to its offset ribbon design, so we recommend turning the mic around and trying the back side for tracking acoustic guitars. We’ve seen this method used on countless sessions and we highly recommend that you try it – it’s our favorite way to track acoustic guitar! (Note: this method applies only to our R-series mics, not our SF-series mics.)

 
Steve Page of Barenaked Ladies tracking with a backward R-121.

An excellent method for tracking the acoustic guitar in stereo is to use two R-122’s positioned head-to-head in a Blumlein pair (X-Y). The two mics are positioned at 90 degrees apart, one facing the body of the guitar and one facing the neck. We suggest using the back side of both mics, remembering to flip phase at your pre’s.

A spaced pair of R-122’s will give a nice, wide stereo recording. Again, we suggest using the back side of both mics, remembering to flip phase at your pre’s.

Joe Garcia tracking at Milestone Recording & Post. Engineer, Annie Miles.

When using an SF-series mic, try the same position on the neck (12th fret) but at least a few inches further back from the guitar. If you’re using an SF-12 or SF-24 stereo ribbon mic, also experiment with the mic out in front of the guitar for great stereo acoustic guitar tracks.

Pierre Bensusan tracking with an SF-24 and two small diaphragm condensers.

Another technique is to place an SF-24 stereo ribbon several feet above the player, positioned horizontally like a stereo drum overhead mic. It’s an extremely natural sounding position that picks up the guitar more from the perspective of where the guitarist hears the instrument.

In this section, we’ll focus on mic choices and basic mic placement for recording the acoustic guitar. These mics in these positions have been proven on countless sessions around the world, so they’re a great starting place for anyone tracking the acoustic guitar.

A good ribbon mic (or a pair of ribbons for recording in stereo), properly placed, will give you extremely natural sounding acoustic guitar recordings. You can easily capture all the warmth, size and detail you want for full, lush sounding tracks, or thin the tone out for more percussive or sparkly sounding tracks. All of the Royer ribbons perform well on acoustic guitars, although we recommend different positions for R-series and SF-series mics. Due to the gain requirements of acoustic instruments, we usually recommend that you use our more sensitive Active Series powered ribbons (unless you’ve got a slammin’ mic pre with lots of gain). All of the R-series mics will give good results on acoustic guitar, but for this writing, we’ll refer to the R-122 phantom powered ribbon.

Ribbons handle EQ very well! Acoustic guitars can be shaped beautifully with a little bit (or a lot) of eq’ing. The complexity of the track you’re recording, how many other instruments and vocal tracks your acoustic guitar will be sharing space with, the overall sound you’re looking for, etc., will determine the amount of equalizing you’ll want to do. Generally, it’s good practice to roll off some low end at about 100 Hz. Boosting at 10-12 kHz adds a nice sparkle, as well as helps the guitar cut through a dense mix. Don’t be afraid to boost as much as 8 or 9 dB of high end to achieve a more condenser-like response if you need it. Even with such drastic EQ, Royers will retain their smooth high end.

The closer to the guitar you place the microphone the warmer the sound will be, so if you find that your track is overly warm or boomy, back the mic off an inch or two at a time until you achieve the balance of warmth and top-end you’re looking for. It’s important to note that ribbon microphones tend to sound better when placed a little further back from where you would normally place condenser mics.

These are a few good starting points. Experimentation is always the key to your own unique sounds! The acoustic guitar is a beautiful instrument and ribbons will help you bring out the best in it.

The piano can be recorded in a variety of ways, with different miking methods yielding markedly different results. Classical recordings often benefit from some degree of room ambiance, achieved by placing the microphones outside of, or at a distance from, the piano. Pop and rock recordings often call for closer miking of the piano’s soundboard to give a tighter, more immediate response. Placing mics over the hammers yields an even brighter, more percussive recording. Removing the piano lid allows for miking the soundboard with no lid “bounce”, while opening the lid at full stick and placing mics just outside of the lid can give a fuller bodied, more natural sounding recording. The piano is a wonderfully complex instrument and the possibilities for recording it are endless!

Engineers around the world are using Royer ribbons to record piano, from classical and scoring to rock and country. We’ve been fortunate to attend a number of sessions where engineers have let us photograph their miking techniques and we share them with you here. As always, these are good starting points, but experimentation is the key to getting the sound you’re looking for.

This is a wonderful technique for recording classical piano. Position an SF-24 active stereo ribbon mic just outside of the open lid of the piano, leaned forward toward the soundboard.

Producer/Engineer Chuck Ainlay’s SF-12 positioned at the outer edge of Chuck Leavell’s piano.

You can also try pulling the mic back further to bring in more of the natural ambience of the room. In this picture, engineer Giovanni Di Simone was beta testing a prototype SF-24V (tube) stereo ribbon microphone for us – it’s on the stand next to a stock SF-24 at a live concert.

Japanese artist Hiromi being recorded by Telarc Engineer Michael Bishop. Michael used an SF-24 and two condenser microphones on the piano. The mics are placed outside of the piano, just far back enough to not be under the lid.

Meat Loaf – Bat Out of Hell 3 Recording Session
This multiple mic technique is one of the most useful methods for recording rock/pop piano. Here we have a spaced pair of R-122s alongside a pair of Neumann U-67s, although any quality condenser microphone should yield decent results with this method.

Two R-122s – Spaced Pair
Live piano during a Henry Mancini Orchestra performance.
Open the piano lid to full stick and place one microphone about 12 inches above the hammers, half way between the lowest key and middle C. Place the second microphone at the same height, between the highest key and middle C. This technique gives a brighter, tighter sound which is usually preferable for rock, country, and pop.You might also try panning the mics hard left and right.
 
Two R-121s – Blumlein
Blink-182 Recording SessionPlace a stereo pair of R-series mics in Blumlein (one mic above the other at 90 degrees apart) directly in the middle of the sound board over the hammers for a tight, percussive sound. You can also try this position with a stereo Royer SF-12 or SF-24.

Here’s a great technique that might come in handy. Place an R-series mic between the cymbals, pointing the front toward the ride cymbal and the back toward the crash cymbal. The mic should now be at a 90 degree angle to the floor. Ribbon mics are bi-directional, picking up to the front and to the back. A bonus is that they have a strong null-point to the sides. In this configuration, you can get a lot of cymbal coverage without much snare. Try it – you’ll be amazed.

Sometimes it’s a good idea to close mic the ride cymbal, just in case you find you want to bring out some detail in the mix without affecting the overall drum balance. It’s better to print it and not use it than to need it and not have it. Ride cymbal miking on a session engineered by Steve Kempster.

R-series mics are wonderful on hi-hat and can handle all the hi-freq eq boost that you can throw at them. You can get all the sizzle you need without the sound getting grainy or harsh, or leave the track non-EQ’ed and have a warm, natural high hat. Place at a 45 degree angle and leave room for those drum sticks. This is Bruce Swedien’s high hat miking technique.

Richie Hayward’s kit on a home recording session.

Although ribbon mics sound great on snare drums, they’re a bit tricky to use without endangering the ribbon mic. Here are some tips:

Place an R-series mic underneath the snare with the rear of the mic facing the snares and front of the mic facing the beater side of the kick drum. Remember to flip phase with this mic so it will be in phase with the top mic as well as with the front kick mics. Compress to taste! This is engineer Dusty Wakeman’s snare drum setup.

 
This snare is from an MXPX session, produced by Dave Jerden.

For a jazz or vintage setup, place an R-series with the front facing the snare and the back toward the hi-hat (remember, ribbons are bi-directional).

For a modern sound, combine an R-121 with a dynamic mic. Angle the R-121 downward at 45 degrees, and position it 10-14 inches from the kick drum head. To protect the ribbon from blasts of air, be sure to position the mic away from any holes cut in the head. The 45 degree angle protects the ribbon element by allowing it to take the low frequency, high SPL kick drum impact unevenly down the length of the ribbon, letting the ribbon flex without stretching it out. The sound of the R-121 in this position has often been compared to a FET-47. Add a dynamic mic, such as a D-112, 421, or even an SM57 placed inside the drum, to pick up the attack of the beater. Balance to taste!

Important Note:

Royer R-series ribbons have excellent side rejection which extend to the top and bottom sides of the mic as well. If you were to talk into the null points (the ribbed sides) of an R-121 or R-122, or directly at the top or bottom of the mic, you would hear next to nothing. This pattern is extremely useful for rejecting unwanted sounds in your recordings. Because the top of the mic is a null point, leaning the microphone forward – which points the top of the microphone directly at the rest of the drum kit – gives you a well isolated kick drum, almost as if you had a blanket over the kick and the mic for isolation.

For a more “vintage” sound, skip the dynamic mic. Brian Blade’s live drum miking – R-122 on kick, R-121’s on overheads, R-121 on high hat.

Position the mic a little further back for a nice jazz kick drum.

R121s and R122s both sound great on toms! Position the mic at a 45 degree angle, pointing at the center of the drum, making sure to leave enough room for the drummer’s sticks. Here’s another Bruce Swedien setup with R-121’s on toms and high hat.

 
Sean Beavan’s drums with R-121’s on toms and kick, SF-12 overhead.

It’s a great idea to use one or two mics in front of the kit; after all, that’s usually how we listen. Here are a couple of options:A single R-series mic 3-4ft. high about 4ft. in front of the kick. This will pick up the overall sound of the kit and can support your other tracks nicely – compress this mic to stun to add hugeness and compressor pump. Here is Richie Hayward’s kit miked up for a home recording. This method also works very well in large rooms.

An SF-12 or SF-24 stereo mic placed 3-4ft. high, 4-8ft. in front of the kick generates a nice stereo image.

Kenny Aronoff’s kit miked by Ross Hogarth- SF-24 in front of the kit with a Coles 4038 ribbon mic under it. 

Engineer Steve Kempster’s setup – SF-24 8 feet in front of the kit, R-122’s overhead, R-122 on ride cymbal.

Now try the same position with the SF-12 or SF-24, but 6-8ft high. Engineer Steve Churchyard’s mic setup on a Meatloaf Bat Out Of Hell 3 session.

A pair of R-series ribbons split tight or wide in front of the kit as room mics.

Drums set up in Chuck Ainlay’s studio with R-122’s split out wide.

R-122’s close together in the room on a Train session, with an SF-24 overhead.

Minimilist miking is good for some things, but most engineers today use a number of mics on the kit and at least a pair of mics in the room. Here we’ll look at miking the drums on a more individual basis and show you how a number of engineers use their Royers.

Overheads

A great place to start is with the overheads, as they establish the imaging and the natural balance of the kit. Your overhead mics can be spaced closely or spread out for a wider stereo image. The R-122 is excellent for drum overheads – engineer Bruce Swedien’s favorite overhead mic setup is a pair of R-122 phantom powered ribbons. For Omar Hakim’s kit, Bruce used a pair of R-122’s for overheads, an R-122 on the ride cymbal and an R-121 on high hat.

Elliot Scheiner also uses R-122’s for drum overheads. This pic of the kit was taken during a Jane Monheit session. 

Mono overhead miking can be very effective. To capture a “cannibal vibe” in Pirates of the Caribbean 2, Alan Meyerson put one R-122V tube ribbon mic over each of three kits on the Sony scoring stage in LA. The drummers – Vinnie Colaiuta, JR Robinson and Abe Laboriel Jr. – played together simultaneously.

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The stereo SF-12 and SF-24 are perfect for single point X-Y stereo miking, capturing the kit in perfect stereo without any phase cancellation. Pointing the microphone’s logo at the snare drum centers the snare in the stereo image. Moving the mic higher and lower can make a lot of difference, giving the kit an immediate, punchy sound (close) or a more open ambient sound (further).

SF-12 for drum overheads on The Dirty Dozen

SF-24 for overheads on Train, being recorded by Don Gilmore. Notice the high ceiling at NRG Studios, which allowed for higher placement of the microphone without ceiling reflections.

Many legendary drum recordings were made with few mics on the kit, capturing full kit sound and minimizing phase issues due to interaction between many close microphones. Legendary Beatles recordings had a Coles 4038 ribbon mic overhead, an AKG D19 on the snare and an AKG D20 in front of the kit – the classic Ringo sound. Old Motown records employed similar minimal miking techniques; since many of the sessions were done live with the musicians in one large room, minimal miking was necessary and it helped reduce leakage. Eddie Kramer used three or four mics on John Bonham’s kit on some of the biggest sounding Led Zeppelin’s tracks. There’s no arguing with sound that good! Minimal miking is a great place to start.

Simple Setups:

MONO – Place one R-series mic 5 feet in front of the kit (closer or further depending on the size of the room), waist high. Add compression – maybe an 1176 or Distressor. Done.

R-122 in front of kit in home studio

STEREO – An overhead stereo ribbon mic gives an extremely realistic picture of any drum kit. Point the logo at the snare to center the snare in the stereo field. The L-R imaging is excellent and the drums record very much like what the drummer is hearing. Due to the realistic sound pickup, cymbals won’t be as bright as with condensers. Opening up the higher frequencies with EQ will give the cymbals more sparkle and cut without affecting the pickup of the rest of the kit.

Place an SF-12 or SF-24 over the kit and an R-121 or R-122 about 1 foot off the front kick drum head, angled 45 degrees toward the drum (this protects the ribbon elementand reduces kit bleed into the kick drum mic). Adjust positions of the two mics for desired ratio of kit to room sound.

If the ceiling is low and you have too much ceiling reflection getting into the back side of the mic, move the mic toward the front or the back of the kit and angle it at 45 degrees. This picture of an angled SF-12 is from a session Al Schmitt recorded. The low ceiling of the isolation booth was dealt with by angling the mic.

Ribbon microphones excel on drums. They have an extremely natural sounding pickup, capturing the power, tone and nuance of all components of the kit. One Royer stereo ribbon mic on drum overhead gives an amazing image of the kit, with fast transient response and the added advantage of handling EQ beautifully. Today, engineers are using Royer ribbons all over the drum kit and as room mics. See examples below.

When miking a full horn section, engineers often use one R-121 per musician at a distance of 1 to 2 feet. Grouping two players on one mic also works well – the off-axis response of a good ribbon is excellent, so having two on one mic can yield great results.

Once you’ve spot miked the instruments, adding an overall section microphone can add greatly to the fullness and cohesiveness of your recording. Royer SF-12 and SF-24 stereo ribbon mics do a beautiful job. Position the mic over and in front of the section, then position to taste. Consider how much room sound you want, since this will determine how close you position the mic.

R-121’s on brass section on Sony scoring stage, Los Angeles.

Brass section setup for Arturo Sandoval big band. Four R-121’s on trumpets and four R-121’s on trombones.

2007 Academy Award pre-records at Capitol Studios, Los Angeles. Brass section recorded with four R-122V’s on trumpets, four R-121’s on trombones.

SF-24 active stereo ribbon mic used for the room mic during the 2007 Academy Award recordings.

Capturing good brass recordings is not overly difficult when the players are good and the right mics are up. Let’s start with miking a single brass instrument with an R-series mic.

A good starting position is to place the microphone anywhere from 2 to 5 feet in front of the instrument and about 6 inches below the line of sight of the bell. While monitoring through headphones or taking direction from someone listening in the control room, reposition the mic (or have the player adjust his position) until you think it sounds best.

Royers are forgiving of off-axis input and will give consistent results at various distances and angles, so anchoring the player to one position is not necessary. Many microphones will distort if brass is played too close to them, but Royers won’t.

Arturo Sandoval at Capitol Studios soloing on an R-122. See video of Arturo Sandoval recording trumpet.

Arturo Sandoval on the Los Angeles Sony scoring stage soloing on an R-122, with an SF-24 distant mic.

 
Wayne Bergeron soloing on two R-122’s during the recordings for his release Plays Well With Others.

Maynard Ferguson soloing on two R-122’s. Producer Gary Grant looks on.

 
Live trumpet mic setup for a Barry Manalow concert. One R-122.

Dirty Dozen Brass Band solo tuba recorded on an R-122.

If we had to pick one instrument that benefits the most from ribbon microphones, it would be the trumpet. Complex, powerful, loud and on the higher-end side of the frequency spectrum, the trumpet is an emotional, moving and exciting instrument – there’s nothing like a great trumpet solo or a powerful brass section letting it rip!

Brass can be one of the more difficult instrument groups to record, often sounding overly bright and thin on recordings and in live performances. Brass benefits greatly from the use of ribbon mics – the smooth high end response of a good ribbon makes a major difference, capturing all of the detail and brilliance with none of the harshness or peakynessthat is often associated with brass.

Yes R-121’s and R-122’s are great on drums. The R-121 is highly recommended for kick, toms, room mics, high-hat and ride cymbals. It’s good for snare as well, but care must be taken to place it where it won’t be hit. For kick use, angle the mic at approximately 45 degrees. Depending on placement, a PS-101 windscreen may be required.

The R-122 is a killer overhead mic. Try a spaced pair. It’s also excellent for rooms. Here’s a hint from David Bianco: Place an R-121 on the beater side of the kick. Aim the mic toward the beater, with the backside of the mic pointed toward the bottom of the snare drum. Flip phase at your mic pre to match the main kick and snare mics and compress to taste. Print this on a separate track and use to liven up the drums in the mix.

Royer R-Series ribbon microphones are known around the world as the first-call mics for electric guitar. From Foo Fighters (R-121s & R-10s), Green Day (R-121s), Aerosmith (R-121s), Van Halen (R-122Vs) and Muse (R-122s) to Johnny Marr (R-121s), Dianna Krall (R-121s), Kenny Chesney (R-121s), Rita Coolidge (R-121s), Sam Smith (R-10s), Lana Del Rey (R-121s & R-10s) and countless others, Royer is what engineers choose to capture the biggest, fullest, most natural-sounding electric guitars possible.

Before Miking Up

Miking Electric Guitars in the Studio

Here are a few great starting places for miking guitar cabs with R-121’s, R-10’s, R-122 MKll’s and R-122V’s. For this writing, we’ll stick with the R-121, but each of the other mics is excellent and worth your time to try out.

For the brightest sound, position the R-121 on the center of the speaker dome, anywhere from 2 to 6 inches from the grille cloth. This is the brightest position on the speaker and it’s often a perfect spot. While positioning, it’s helpful to use a small flashlight to clearly see the dome.

It’s good to know the above position and sound before moving on.  Like a tone control, as you move the mic away from the center and towards the edge of the speaker, the sound will become progressively meatier and less bright.

Distance Miking

You’ll also find that the sound changes as you back the mic away from the cabinet, often developing increased tonal complexity and low end at distances over a foot and up to a few feet away. The recorded sound at a distance isn’t as immediate and you’ll hear more of the room.

Blending mics

The most popular way to mic rock and pop guitars is to blend an R-121 with a dynamic mic like an SM57 or a 421. The R-121 gives you all the body and fullness of tone your speaker is producing, like what it actually sounds like in the room, and the SM57 gives an aggressive midrange and top-end bite that blends beautifully with the R-121. Dial-in your desired tone by blending the two mics to taste.

Other mics can be blended too. A nice-sounding blend is an R-122/SM57/421, and blending a condenser mic with an R-121 is common practice as well.

How to Position an R-121 and SM57

Here is Grammy-winning producer/engineer Ross Hogarth blending an R-121 and 57 on session guitarist Tim Pierce. It’s amazing to hear how much variety of tone this gives you!

[youtube https://www.youtube.com/watch?v=tXlvfek4YwE]
 

It’s important to position the R-121 and SM57 properly and in phase. Ross Hogarth walks you through exactly how he does that in this educational video.

[youtube https://www.youtube.com/watch?v=ksm9hUpbkdQ]
 

R-121’s like to see an input impedance of 1.5K from your mic pre. Even 1.2 is fine, but if the impedance is much below that you’ll start losing sensitivity and low end.

There are several excellent mic pres available – Great River, Manley, API, Neve… One of our faves for electric guitar is the Chandler TG2. It has a great overall tone, and the hi-lo impedance switch is very useful. In the low impedance setting the input impedance is only 300 ohms, which is technically a bad match with an R-121, but it wipes out so much low end that you can super-close-mic a cab and get virtually no proximity effect, leaving plenty of low end without rumble, with great mids and highs.

Listen to Kings X, with close-miked R-121’s plugged into TG2s set for 300 ohms. Using low input impedance this way is not a common practice, but you can’t argue with the sound! Engineer Michael Wagener told us he flipped the switch and after some mic position adjustments, really liked what he got. Ears before technical perfection!

 
[youtube https://www.youtube.com/watch?v=HHqHQA1-6Vo]

Here are a few more photos of pro setups. Look and learn!

Here is a summary to help you remember why ribbons are so special:

Ribbon Characteristics

• Extremely low mass allows freest movement through space.
• Truest figure-of-8 of all types of microphones – absolute null-point rejection.
• Excellent off-axis response.
• Tight, defined bass with significant, highly-useable proximity effect.
• Smooth, detailed, natural high end.
• Maximum midrange detail.
• Takes EQ better than any other microphone.
• A real pleasure to mix.

What ribbons don’t do is just as important

• Never harsh, tinny or peaky.
• They don’t distort easily.
• They don’t sound weak in the mids.
• Least susceptible to ringing.
• They don’t produce overshoot.

Most ribbon mics require vertical storage to keep the ribbon upright and prevent stretching. However, our patented corrugation method allows for horizontal storage. You can store a Royer on its side for years and it will be fine. Make sure to store it in its wooden storage box and inside the windsock.

Thank you for taking the time to learn a little bit about these amazing microphones and their application.

Wind is the ribbon mic’s enemy. A strong gust of wind could potentially stretch or tear even the hardiest ribbons, and has done some serious damage to vintage relics. While proper use on a loud guitar amplifier won’t blow a Royer, you’re taking your chances with a strong gust of wind. Take care to make sure your ribbons are always protected from wind and other elements, and always transport a ribbon mic in its protective case. Every Royer microphone includes a plush felt windsock which should be used when the mic is moved, or when it’s left on a mic stand but not being used.

SPL, or sound pressure level, is a measurement of the intensity of a sound pressure wave. Measured in decibels, it provides us with a relative scale of loudness which is useful in determining proper mic selection and placement. High sound pressure levels can damage some ribbons, and will stretch any ribbon mic over time. But Royer ribbons are tough! Through our patented work-hardened corrugation process, our pure aluminum ribbons will stand up to years of high SPL before they exhibit any signs of fatigue. That said, it is a good idea to limit exposure to unnecessary high SPL to insure the longevity of your investment. Please note that dynamics and condensers are also susceptible to the effects of sound pressure and like any physical membrane, their diaphragms will stretch over time leading to degraded performance.

As one of the earliest microphone designs, ribbons actually predate phantom power by several years. Some ribbon mics can be destroyed instantly by the inadvertent application of phantom power. However, most modern ribbons were designed to handle phantom power being turned on and off: As long as the microphone cable is correctly wired, phantom power will not be applied to the ribbon element. Of course, active ribbons like the Royer R-122 or SF-24 that require phantom power for their operation will never be damaged by its application.

A word of caution about patch bays: Improperly wired or poorly-made patch bays can allow phantom power to leak into other channels. If the patch bay uses TRS connectors, plugging and unplugging cables with phantom power on results in brief jolts of phantom power hitting the ribbon element directly, so you may damage your ribbon microphone by connecting to or through one of these bays. It’s good practice to never connect or disconnect a patch cable with phantom power turned on.

While good ribbon mics deliver natural sound, sometimes you want to shape your tracks to cut through a mix. For example, a vocal take on a ribbon mic might be perfect for jazz or classical recordings, but in a rock or pop track engineers often want to hear more high end “sizzle” to help the vocal stand out. This is an application where a quality condenser mic can shine: But some vocalists sound sibilant no matter what condenser mic you put in front of them, so a highly EQ’ed ribbon mic can be the perfect option: push 12K by 4-6 dB and your ribbon will cut more like a condenser, but without harshness or sibilance. For a great example of a highly EQ’ed ribbon on a singer who was sibilant on condenser mics, listen to this recording of “There She Goes Again” by Sixpence None the Richer, sung on a highly EQ’ed Coles 4038 ribbon. The guitars and cellos were recorded with Royer R-121s.

The EQ-ability of ribbons is equally helpful on drums: Royer R-122s are great overhead mics, but the natural sound of cymbals is often not bright enough for rock. Opening up the high end with EQ helps the cymbals cut through the mix and sound more exciting, without affecting the power and tone of the snare drum and tom-toms. This EQ-ability is useful on a wide variety of instruments.

Equalization is probably the least understood and most overused form of signal processing in the audio engineer’s “toolbox” and the results are often disastrous. Many engineers take the approach that they can “fix” problems in a track by using EQ at mixdown. The reality is that the misapplication of EQ causes more problems than it could ever fix, and the real problem is that the track was never “right” from the beginning. A number of factors will influence the overall quality of the track: the musician’s technique, the condition and tuning of his instrument, the instrument’s interaction with the room and the mic, and, of course, the microphone itself. You’ll probably agree that classical music recording is the “purest” expression of the art. The goal of most classical music recording engineers is to make a recording with no equalization at all. They must be on to something! They spend a great deal of time before the performance listening, moving mics around, and making sure that when they are ready to roll, they essentially have a high-fidelity master coming through the speakers. Make sure everything is right at the source, and the quality of your recordings will improve dramatically.

Our advice is to take a step back and really listen to what’s coming out of your speakers before you ever press record. Chances are, if you’re using a Royer ribbon, things will already sound smooth and natural and you’ll be ready to capture that amazing take.

We’re not saying you’ll never have touch the EQ if you use ribbons, but the good news is that if you do need to EQ your tracks, no other kind of microphone stands up as well to EQ as a ribbon. They take EQ so well because of their natural frequency response and lack of distortion artifacts: there’s no “junk” to bring up with the signal- just the music!

Mixing is where you realize the greatest strength of ribbons. Because ribbon-recorded tracks sound so much like the instrument you recorded, when you pull up the fader, the instrument is much more likely to drop into the mix right where it’s supposed to be. You’ll find yourself using much less EQ and signal processing to make the track sit properly in the mix, and you’ll spend a lot less time “fixing” things! You may even find yourself using less EQ on other tracks (tracks recorded with other microphones) because the ribbon tracks sit so naturally, they are less likely to fight for space and crowd or mask other tracks in your mix. We told you ribbons will change your life – we meant it.

Proximity effect is a physical phenomenon that results in increased low frequency response as a directional microphone moves closer to a sound source. Almost every directional microphone exhibits some proximity effect, but with ribbons, the effect is substantial – especially inside six inches. You can use this effect to great advantage. For example, proximity effect is often just the right thing to enhance a thin-sounding vocalist – naturally and evenly, without having to touch the EQ. Or you can use it to beef up an overly-bright acoustic guitar, a weak upright piano, or a lean cello. Any time you need a little more bass, try moving the mic a few inches closer to the sound source. Radio and television announcers have long used proximity effect to give their voices a full, rich, authoritative quality. We call this being “more real than real.” Of course, there is such a thing as too much of a good thing: Too much bass can overwhelm the track, mask other tracks, and lead to an overall sense of unintelligibility in your mix. The solution? Simply move the mic back until the bass sounds natural and realistic. By learning how to work with proximity effect, you can literally custom-tailor your track’s bass response to suit your needs.

Audio transients are instantaneous sonic events with extremely short attack and decay times, and minimal sustain. Snare drum hits, kick drum hits, staccato piano, plucked strings, and slap bass are all good examples. Due to the low mass of the element, ribbons exhibit extremely fast transient response, often equaling or exceeding that of condensers, depending on the size and composition of the diaphragm or ribbon.

Good transient response leads to clean, dynamic, punchy, and detailed recordings (the sound literally comes alive) the sound stage opens up and envelops the listener, often appearing wider than the playback speakers themselves. Poor transient response results in recordings that are dull, muddled, and ill-defined with a smeared stereo image where the listener struggles to hear each instrument in its proper context.

Some sound engineers believe that condensers are always faster, but many times what they are hearing is overshoot – a disproportionate reaction to a transient common to condensers that results in higher output of the transient than its actual input. Overshoot leads to some nasty sonic artifacts and often contributes to the brittle, tinny high end found on some inexpensive condensers. Well-designed ribbons are not susceptible to overshoot.

Considering the mass of the element, we can conclude the fast transient response of a ribbon mic is a matter of simple physics: The higher the mass, the more energy that will be required to excite air molecules in proximity to the transducer and cause it to move, hence its response to incoming sound pressure waves is slower. The lower the mass – you get the picture.

Using our imaginary line from the section above, a sound pressure wave arriving at the transducer at an angle greater than 0 degrees is said to be off-axis. Off-axis response is a tricky subject because there is no standard of measurement for the phenomenon, yet it comes into play every time you use a microphone. Sound engineers can only say that a microphone has “good” or “bad” off-axis response after hearing it in action. Whether in studio or on stage, sound pressure waves bombard your microphone from every angle: some from other instruments in the room; others from reflections off walls, ceilings, control room windows, and stage floors. Due to their natural figure-of-8 polar pattern, ribbons exhibit significantly better off-axis response than do condensers or dynamics.

The big problem with poor off-axis response is that it produces sound that is very difficult to “fix.” Imagine that all off-axis frequencies have been tweaked with the worse possible EQ: The only way to deal with these frequencies is to either move the mic or remove them with EQ. Both tactics present the sound engineer with their own set of problems. Because of their smooth, natural off-axis response, ribbons significantly reduce or even eliminate much of this frustration. The result is simply better overall sound and far fewer headaches.

Polar response is the measurement of a microphone’s sensitivity to a given frequency relative to angle of incidence. Ribbons naturally exhibit a bidirectional, or figure-of-8 polar response because both sides of the transducer are equally exposed to incoming sound pressure waves. This means the microphone exhibits equal sensitivity to sounds arriving at the front as it does to those at the rear. This may lead you to conclude that a ribbon should exhibit an omnidirectional polar pattern. However, sound pressure waves arriving at the rear of the transducer are electrically 180 degrees out-of-phase at the output with those arriving at the front. If we draw an imaginary line down the center of the transducer, the microphone’s axis, sounds arriving at the side of the transducer (“the null point,” 90 degrees off-axis) produce equal but opposite sound pressure on both sides of the ribbon. As both sides are 180 degrees out-of-phase with each other, output at both null points is zero, resulting in a polar pattern that resembles the number 8 (fig. 2), hence the name of the pattern. Ribbons exhibit the truest bidirectional polar response, and feature absolute null-point rejection, opening up a world of mic placement possibilities.

Some multipattern condenser microphones are capable of producing a bidirectional pattern, but to accomplish this they must use complex active electronics which can impart noise, distortion, and undesirable off-axis artifacts. Accordingly, ribbon mics that feature unidirectional (cardioid, supercardioid, or hypercardioid) polar response must also create patterns electronically or mechanically to overcome the ribbon’s natural physical state. As we will learn in the next section, there are some serious advantages to using true bidirectional mics in studio and on stage.

Fig. 2 – bidirectional polar pattern

Thelonious Monk was once heard to remark “Talking about music is like dancing about architecture.” His point was that music is a transcendent medium that is simply meant to be listened to, felt, and enjoyed rather than deconstructed, critiqued, and reduced to mere academics. His well-informed sentiment notwithstanding, audio engineers often communicate abstract ideas about sound and use their own descriptive jargon to convey textural, technical, and artistic characteristics as they relate to the tools of the trade. You’ve no doubt heard of brown guitar tones, slammin’ kick drums, creamy vocals and the like. While our intention is to keep this discussion factual, some broad, abstract notions are worth exploring when describing tangible differences in sound between various kinds of microphones. When we dig deeply enough into this subject, we discover that it is the tangible, technical differences in design, and the application of physical properties of electrical and mechanical components that account for the vast differences in sound quality among tools that all essentially do the same job.

The qualitative sound output of most professional audio equipment and musical instruments can be divided into two broad categories: warm or bright. The understood meaning of these terms is probably self-evident. But for our purposes, when we say something is warm, we mean it emphasizes the low and lower-midrange of the audio spectrum. Conversely, something we describe as bright will emphasize the upper-mids and higher frequencies. Both characteristics can be musically pleasing and each has their place in modern recording and sound reproduction.

Ribbon designers can engineer a desired frequency response into a microphone based on selection of materials, physical size and shape of the element, corrugation method, and electrical properties of other components in the audio signal path. These decisions made on the drawing board are critical to the mic’s overall performance. Due to the physical properties of the ribbon element, well-made ribbon mics are warm, detailed, and very natural sounding. What you put in front of them is what you can expect to record. They effortlessly respond to even the slightest of sounds, and their transient response rivals the best condenser designs. In terms of how they “hear” and reproduce sounds, they are the closest electronic equivalent to the human ear (do you remember how we began this discussion?)

They are a particularly good choice for digital recording, where high frequency distortion on the analog side easily becomes an audible mathematical error on the digital side. The absence of harshness and distortion in the higher frequencies is particularly noticeable when compared to condenser and dynamic mics, and the electronic simplicity of a ribbon’s distortion-free signal makes for easier, more natural sounding passage through A/D converters and other digital signal processing devices. Engineers who remember working with tape often say that ribbon mics make them feel like they’re working with analog recording equipment again.

Ribbon mics operate on the same electromagnetic principle as their distant relatives ‘dynamic mics’ but with one important difference: Instead of the dynamic’s cumbersome plastic voice coil (Fig. 1), the ribbon mic employs an extremely thin strip of corrugated aluminum (Fig. 1.3) suspended in a strong magnetic field. Due to its extremely low mass, the ribbon responds to the subtlest variations in sound pressure and moves through space much more freely than the plates of a condenser or the voice coil of a dynamic. Thus ribbons exhibit a natural, even tone that is detailed and musical without the distortion of dynamics or the unnatural brightness of condensers. But low mass also means low electrical output and extremely low impedance: Ribbon microphones require the use of a transformer just before the output to step the voltage up to a useable level, and to raise the impedance from a fraction of an ohm to something more usable (ours are 300 Ohms). The quality of this transformer is critical to the performance of the mic. At Royer, we have not only elevated custom transformer design to an art form in itself, we individually test and grade each transformer before it goes into one of our handcrafted microphones. Active ribbons like the Royer R-122 and SF-24 go one step further and use a FET amplifier stage to increase output and to enable impedance matching. Other active ribbons employ vacuum tube amplifier designs like the Royer R-122V and SF-24V. We were, in fact, the first microphone manufacturer to apply active electronics to ribbons!

Ribbons are traditionally found in recording and broadcast studios due to their exceptional sonic characteristics and proven reliability. In fact, you’ve heard ribbons on some of the most famous recordings in popular and classical music, and they’ve been there to report some of the most significant events in modern history. Our award-winning line of live ribbon mics is enjoying its place on stage as well – a place where ribbons aren’t usually found. As we’ll illustrate below, ribbons offer the recordist and live sound engineer some serious advantages over other designs, and Royer ribbons have established a new benchmark in quality, reliability, and sonic excellence. We didn’t invent ribbon mics, but we have taken them to the next level using superior engineering, manufacturing, and quality-assurance processes and the results are nothing short of spectacular. But don’t just take our word for it!

Fig. 1.3 – corrugated aluminum ribbon element with damping screen

Condenser mics are a little more complicated – we’ll try to provide a very simple explanation! The condenser employs a capsule (Fig. 1.2) consisting of a solid metallic disc called the backplate and, on one or both sides of the backplate, a very thin conductive plate called a membrane. The membrane, usually gold-sputtered Mylar, moves relative to the fixed backplate as it is displaced by incoming sound pressure. The plates form a condenser, or capacitor, and require an external dc voltage source for polarization, one plate being negatively-charged, the other positive. In its steady state, the mic’s output is zero because the circuit is in a state of equilibrium. Motion between the plates caused by incoming sound pressure waves displacing the moveable plate results in rapid changes in capacitance proportional to the displacement of the plate. Thus, output voltage is the result of constantly-changing capacitance. The relatively low output of the capacitor means a separate amplifier stage inside the mic must be used to increase voltage output to a usable level. Most modern condensers employ either a solid-state or vacuum tube amplifier, while the most sought-after vintage mics utilize a vacuum tube design. Condensers tend to emphasize the high end of the audio frequency spectrum, and well-made ones are found in recording studios around the world. Though their design leads to some inherent shortcomings “high frequency peakiness,” poor performance in high humidity and, in some cases, distortion artifacts that necessitate “fixing” the track at mixdown – they are an excellent choice for a wide range of applications and can make excellent companions to ribbons.

Fig. 1.2 – condenser mic capsule

Of all modern microphone designs, dynamics are the simplest. They operate on the principle of electromagnetic induction, meaning the physical motion of components within the mic actually generates its output current by moving a suspended coil of conductive wire, the voice coil (Fig. 1), through a magnetic field. When the incoming sound pressure wave displaces the coil, the result is an output voltage proportional to that wave. Dynamics are generally regarded as the rugged workhorses of the audio trade and are thus often found in live sound applications where they will be subjected to extreme conditions and frequent abuse. They are also found in recording studios and are often used on drums and other very loud instruments because they can withstand high sound pressure levels. But ruggedness comes at a price: Most sound engineers agree that moving-coil dynamics don’t sound nearly as good as their ribbon and condenser counterparts – the high mass voice coil, relative to ribbons and condensers, results in diminished transient response, limited and uneven frequency response, and very poor off-axis response.

Fig. 1 – dynamic microphone with voice coil exposed.

Meet the transducer: a device that converts one form of energy into another corresponding form of energy for some useful purpose. Microphones are specialized transducers that convert acoustic energy (known as sound pressure) into electrical current for amplification, broadcast, or recording. Microphones have been around since the 1870’s when telephone engineers needed a way to turn the human voice into an electric current and send it down a wire where it would reach its intended recipient and be converted back into sound through another transducer called a loudspeaker.

Today, microphones are broadly divided into two types, based on their operating principle: dynamic and condenser. Dynamics are further divided into two types: moving-coil and; our favorite, ribbon. Generally, moving-coil dynamics are referred to simply as “dynamics” while ribbons are called, oddly enough, “ribbons.”

Let’s say you’re a guitarist. You’ve spent tons of money on guitars, amps, effects, and mods; and years experimenting and listening to find your sound. It sounds amazing standing in front of your amp, right? So why is it so painful to walk into the control room after a take only to hear something that’s nothing like the actual sound your amp is making? Why can’t you capture that sound, so when you listen in the studio monitors it sounds and feels like you’re standing in front of your amplifier? The answer is simple: Most microphones can’t accurately translate the complex harmonic structures and subtle dynamic variations of sound that make up your tone. But ribbons can! Track with a Royer R-121 on your amp, and then give it a listen – it’ll sound and feel like you’re standing in front of your rig.

The same goes for piano, brass, drums, percussion, strings, voice, and right on down the line. When you’re trying to capture the sound of your instrument “the way it really sounds” ribbons will literally change your life.

Gayle Levant is the leading harpist in Los Angeles. She has played on countless movie scores and has recorded with some of the biggest names in music including Ray Charles, Barbara Streisand, and Frank Sinatra. The first time she heard her harp recorded with ribbons was when she was doing us a favor recording a track for our first demo CD. The studio’s heater had broken the night before and we were ready to cancel the session, but Gayle sat down (coat on and fingers half frozen) and played a beautiful piece for us. The results were breathtaking. When she came into the control room to listen to that first playback, she literally broke into tears saying “I’ve never heard my harp recorded like this before. This is exactly the way it sounds when I’m playing!” It touched everyone in the room, and Gayle sat in the cold and played for hours. Over the years, we’ve been fortunate to collect hundreds of stories like Gayle’s. We love making music. We love recording music. And we know you do too. That’s why we’re dedicated to making the finest handcrafted microphones in the world.

We’ve been saying this since we opened our doors in 1998, and we’d like to take a minute to explain what we mean. Simply put, when you put a quality ribbon mic on an instrument, voice, or other sound source, what you hear on playback is closer to real sound in nature than with any other kind of microphone. This is because ribbons ‘hear’ sounds more like your own ears do, and the result is a warm, natural, and detailed sound that other microphones simply can’t deliver.

Experienced recording engineers will tell you that the most common weak link in the audio signal path is the transducer (or the musician – sorry, we can’t help you there). While dynamic and condenser microphones are important and have their place in studio and on stage, even the best of them impart noise, distortion, and other artifacts to your signal. Selecting the right mic at the start of your project can, and usually does, mean the difference between a merely adequate recording and one that blows people away. After reading this short essay, you’ll understand why we’ve dedicated ourselves to this remarkable technology and why our customers are such loyal fanatics!