but weakened, boosting them by several dB will sound “natural,” even though the sound has
been “sweetened.”
Radio and television announcers have long relied on proximity effect to produce a full, rich,
“authoritative” quality in their voices. By knowing how to work with the proximity effect, the
engineer can get several useful effects without resorting to a “box.”
Microphone Techniques
General Tips for Using the Royer R-122
The following are good basic starting places for recording with the R-122. These positions are
known to produce good results, but experimentation is the key to getting the most out of your
recordings! Photographs of many of the following techniques can be found at royerlabs.com.
Brass Instruments
and R-122s go together very well. Mic the instrument from a distance of a
couple of feet, and increase the working distance a little if several instruments are being used.
Reed Instruments
sound full and never edgy when captured with an R-122. Normal working
distances are about a foot or two from the instrument.
Strings
sound very sweet and clean when recorded with R-122s. Place the microphone several
feet from the instrument. For larger string sections, try placing the microphone slightly above the
instrumentalists and angled down; a distance of three or four feet will do the trick nicely.
Pianos
sound excellent when recorded with R-122s and are free of phase-related comb filtering.
The bass is full and rich while the top remains clean with no clatter. Mic the piano at a distance
of one foot to several feet, depending on taste. A more direct “up front” sound will be achieved
when the microphone is placed closer to the soundboard.
For capturing a piano in stereo, place a pair of R-122s apart, one over the bass strings and the
other over the high strings. The farther the mics are from each other, the wider the stereo spread.
For a more direct stereo effect, the microphones may be placed in an “X-Y” pattern a couple of
feet from the center of the soundboard.
Amplified Instruments
should be miked from a distance of 6-8 inches or more. The smooth
undistorted response of a ribbon microphone is very useful for electric guitars and electric bass.
Since guitar amplifier speakers are often “beamy,” experiment with mic placement to find just
the right spot. Placing the mic at greater distances from the speaker cabinet adds more room
ambience to the mix. You will find that the R-122 does not add undesirable elements to the
sound. Basically, what you hear at the amp is what you get in the control room and in your
recordings.
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