Keith Urban’s guitar cabinets miked with R-122’s. Keith uses two pairs of stereo amps – one pair is miked with R-122’s and the other pair with condenser mics. (Pictures 1-3)

Steve Law (FOH) and Jason Spence (monitor mixer) on stage. They started the tour with standard R-122’s, then switched to a pair of Live Series R-122’s midway through the tour.

The band on stage. (Note: Keith Urban does not endorse Royer Labs, or any other products.)

Thursday playing live. Guitars are miked with a combination of Royer R-121’s and Shure SM-57’s.

Carlos Santana’s rig miked with a pair of R-121’s at the Hollywood Bowl where he was a guest artist with Wayne Shorter. (Note: Carlos Santana does not endorse Royer Labs. FOH Engineer Rob Griffin set up the R-121’s – see more of his work in the live Drums and Brass sections.)

Sonny Landreth playing live at Lafayette Louisiana's Grant Street.  This show was recorded and released as the CD titled “Grant Street.” Sound samples and details of the recording setup.

The Kim Wilson Blues Band broadcast live (and recorded) in the XM Radio studios. Engineer Clarke Rigsby used an R-121 on Kim’s harmonica amplifier and R-121’s on the guitarist’s amps.

George Thoroughgood’s live speaker cabinets are enclosed to control stage volume level. One R-121 is used per cabinet. In this closed environment, the rear side is baffled to control early reflections coming back to the rear side of the microphone.

Live club showcase in Los Angeles. The R-121 was originally placed to the side of the speaker and one inch from the grill cloth, which sounded too dark. We moved it to the center of the speaker and backed it off two inches and it became the bulk of the guitar sound, with some of the SM-57 blended in for brightness.