What the Pro's Say
“I’ve used Royer mics on electric guitar for every session I’ve done over the last ten years. The way they capture the size and depth of a rock guitar is unique. These microphones actually present the guitar in a way that the guitarist is accustomed to hearing their instrument. I find the musicians actually play better when they can hear their guitar with this level of detail and warmth.”
Joe Chiccarelli, Producer/Engineer/Mixer (Jason Mraz, Spoon, Morrissey, Young The Giant, The Strokes, The Killers)
“For Maroon Five’s lead guitarist James Valentine, I used a Shure SM57 on a ‘Divided by 13’ cabinet and a Royer R-121 Live on the ‘Matchless’ cab. For Adam Levine, I used two Royer R-121 Live mics—one on his ‘clean’ cabinet and one on his ‘dirty’ cabinet. The Royers picked up the true guitar tone. The reliability of the Live Series mics was flawless, and this is no small thing considering the rigors of live concert touring.”
Jim Ebdon, FOH Engineer (Maroon Five, Matchbox 20, Aerosmith)
“These microphones really pick up the true sound of the guitars. The R-121 produces a very musical sound that accurately reflects what comes from our guitar rigs. They worked great during our entire last tour.”
James Valentine – Guitarist, Maroon Five
"The SF-12 as a drum overhead mic gives me something I've never
been able to get before. God, I love this mic!"
Chuck Ainlay (Vince Gill, George Strait, Reba McEntire, Mark Knopfler)
"I'm using R-121's all over my guitars and drums - it's really
an amazing mic."
Noel Golden (Engineer - Matt Serletic, Matchbox 20, Willie Nelson, Edwin McCain)
"The R-121 blew me away in 1999 and now I'm blown away again.
The increased gain and the clarity of the R-122 is ridiculous - this
is an amazing development in ribbon microphones!"
Ross Hogarth (Grammy winner - Jewel, Roger Waters, Keb Mo, Coal Chamber, Black Crowes, REM, Shawn Colvin)
"God, I love these (expletive deleted) things!!!"
(Grammy Award winner, Rolling Stones, Bonnie Raitt, Eric Clapton)
On recording music for TV’s The Voice
“The R-122V’s sound is so full and rich. It brings so much depth and dimension to the electric guitar sound, and it’s absolutely fantastic on acoustic guitar.
“For drums, we’re using an SF-24 and an R-121, positioned head-to-head behind the kit. The ability to capture imaging as well as the SF-24 does is truly remarkable.
“On a scale of 1-10, Royer Labs rates an 11.”
Bill Appleberry (Engineer, The Voice)
"I used the R-122 on several critical ADR sessions. The mic's
high output abilities make it preferable on critical ADR sessions to
the lower gain vintage mics. This is a superbly crafted mic, with a rich,
full sound and accurate top end. The off axis response is incredible,
which makes my job much easier."
Dan Cubert (Dialog and Foley Recording, Mixer/Editor - Dreamworks, Universal, Tri-Star, Lucas)
These (Royer) mics somehow have the ability to convey each musician’s personality in a truly nuanced way. You can really hear the humanity that underlines the performances. And that may be the most important element of all.
“I can’t think of a recording session I’ve been at in the past 10 years that wasn’t using Royer mics. They have become the go-to microphone for professionals here in Los Angeles.”
Gordon Goodwin – Grammy winning Composer/Arranger/Conductor
On recording full Orchestra and Choir
“I'm fortunate to have a good set of tools available to me in my work and the Royer mics are there every time. Royer ribbon mics play an absolutely essential role in all of my sessions.
“I’ve used the SF-24 stereo ribbon mic as the main surround orchestra pickup on most of my orchestral recording sessions, including the two recordings that had consecutively won the “Best Surround Album” GRAMMY. Accurate imaging, the ability to beautifully capture the ‘space’ around the orchestra, an un-colored sound, and perfect integration into the overall mix are among the attributes I can point to as to why I always rely on the SF-24 on my sessions.
“The SF2s have been the perfect chorus pickup microphone for me, especially when working with the challenging stage acoustics of the Atlanta Symphony Hall, where the physical layout of the orchestra and chorus can be quite difficult from a miking perspective,” he reports. “With careful placement of the SF-2 ribbon mics, I can effectively use the natural -90dB null points of the mics to minimize the leakage of the percussion and brass instruments into the chorus microphones, yet maintain a proper distance with the chorus pickup. The SF-2s also interact far better than condenser mics would with the challenge presented by a strong soprano and alto section. A strong soprano section is capable of producing intermodulation distortion in the air around them. This is a natural phenomenon that can present some difficulty to condenser microphones, but a good ribbon microphone easily handles such a signal without adding any edginess to the sound.
“The customer / technical support team at Royer Labs has been a lifeline for me in my work. I've been able to depend upon their assistance at a moment's notice and they've always come through. I've found the Royer team to be among the best in the biz!”
Michael Bishop, Grammy winning Engineer.
Miking Johnny Marr Live
“The reaction we get from crowds since we switched to the Royers has cemented the ‘right tool for the job’ mentality for me. I’ve never had so many compliments. I would never ask someone like Johnny Marr to change his sound to suit my microphone. That would be insulting. So it’s most important to listen to your source and choose a mic that’s going to compliment it. If you have to resort to tons of EQ and compression, then it’s not the right mic for the job. With the Royer R-121, that’s never an issue.
“The SPL handling capabilities of the R-121 are incredible! Johnny Marr is a loud guitar player, and that’s fine, because the R-121 doesn’t even break a sweat. The frequency response of the mic compliments his sound so well—it’s really smooth and void of any nasty peaks in the presence range that other mic’s usually exhibit. The R-121 captures sound the way the human ear does. You can have tons of it in the mix without that ‘ice pick’ effect and without having to use EQ. We run a very tight setup. Everything is butted up to each other physically, so the nulls at the top, bottom, and sides of the R-121 are a Godsend. Johnny’s guitar is angled towards his position in the middle, so the null is ‘looking’ at the hi-hats on the riser. If I didn’t have the R-121’s null, it would be a bloody nightmare!”
Russ Miller, FOH Engineer (Johnny Marr)
"I've been using my 121's on electric guitar, electric bass,
acoustic guitar, drum overheads - they've been brilliant on everything.
It's definitely the best mic I've ever used for recording electric guitar."
Sean Beavan (Marilyn Manson, Nine Inch Nails, Megadeth, Pantera)
"I use Royer ribbons every day I record. They're like the AC-30
of the microphone world. They just have this desirable thing that works
so well and gives a truly analog vibe to digital recordings."
Steve Kempster (Scoring Engineer - Trevor Rabin, Mark Mancina)
"I love my Royers!! The R121 may well be the ultimate electric guitar
mic! I've been using the Royers extensively on recent projects (David Mead,
Verve Pipe, Brian Setzer), also the Stereo model for overheads on Bernie
Dresel (drummer with Setzer). Thanks for a great recording tool"!
John Holbrook (The Brian Setzer Orchestra, Verve Pipe, LeAnn Rimes)
"These are the first mics I've ever used on guitars that give
me exactly what I want. Huge low end with no eq."
Jerry Finn (Green Day, Rancid, Blink-182, Pennywise)
"I first used my pair of R-121 's on every song on Jewels 'Joy'
album. Since than I've used them on everything from main orchestra mic's
to the outside mic of kick drum's (great bottom end for free). Basically,
I'm using them on everything I can."
Michael O'Reilly (Mixer/ Engineer - Jewel, Whitney Houston, Smashing Pumpkins, Bette Midler)
"Great sounding natural room ambient mics. And they won't blow
up - we tried!"
Andrew Scheps (Rolling Stones, Robbie Robertson)
"Extremely smooth upper midrange, perfect for solo electric guitar."
John Cuniberti (Joe Satriani, George Lynch, Dead Kennedys, Neville Brothers)
"I just got some of the best guitar sounds I've ever recorded.
With minor positioning changes, the R-121 was the best guitar equalizer
I've ever used, and it will hold up to levels that a 4038 could never
imagine. On congas, I've never heard such clarity and detail - it was
*way* better than being there!!!"
"I've been looking for this sound for a long time."
Jeff "Skunk" Baxter (Doobie Brothers, Steely Dan)
"The Royer R-121 is a clever, rugged, high quality design with
precision tolerances and SPL handling capabilities that RCA could have
only dreamed about."
Jim Webb (Rare mic collector)
"I loved them on guitar amps. For both dirty and fat clean jazz-type
lead sounds the Royers were great...the Coles 4038's never won in a side-by-side