Rob DeMar - Hubbardston MA
The day I spent waiting for my two R-121s to arrive was chilly and overcast. The moment they came, the sun broke through the clouds, it warmed to 72 degrees, and my girlfriend called to tell me she was bringing two of her model friends home for a sleepover, at least, that's what it felt like.
Brent Lauzon - Ontario, Canada - R-121 - Acoustic Guitar
"Thank you for existing. I have some great microphones, Gefell, Lawson, etc. that all have their place, but I could find nothing to reproduce what I was hearing from my acoustic guitar. This mic paired up with my Great River ME-1NV was the missing link."
Keith Farrington - UK - SF-24 - Brass
"I've been recording brass bands in the UK for ten years and used a number of different microphones for the principal stereo pair. My initial view after a successful weekend is that there's nothing to touch the SF24. Great sound but totally forgiving."
Greg Metzler - Severn, MD - SF-12 - Orchestra
"I just used the SF-12 to record a youth orchestra concert. After hearing the first playback I got chills. There was all the warmth, realism, depth and clarity that I'd been searching for. Roy Halee once said that there was no excuse for what digital recording does to orchestras, and he may be right, but he never tried digital recording with a Royer ribbon. Thank you Royer for bringing musicality back to recording."
Mike Grande - Staten Island, NY - R-121 - Electric Guitar
"What is funny is I got the sound I wanted the night before my session. Before I left the studio I covered the mic with the supplied cover. I totally forgot it was on the mic and spent four hours doing the session. When it was over I went to break down the amp and saw the cover was still on the mic! Can you believe it? And it sounds AMAZING!"
Jeremy Cucco - Fredericksburg, VA - SF-12 - Orchestra
"The sound I was getting was smooth, detailed, quick, full and completely accurate! Not only that, I was getting a great balance from the sections that are usually too distant. The fact is, I could use this mic alone with this group in this acoustic space and be perfect with nothing left to be desired. The real kicker came when the soprano soloist came out to sing with the orchestra. I felt for sure that I'd have to spot mic her. The resulting sound was again glorious. There will be absolutely no need to spot mic her for this performance."
Alfred B. Grunwell - R-122 - 12 string Acoustic Guitar
"I've been recording classical 12/string steel guitarist Jason Kessler for the past 15 years. We've tried just about every setup imaginable, as Jason really likes a big bold sound - not the typically "polite" approach. With the R122 we've found the ultimate sound- a backwards R122 has just the right balance of warmth, presence and sparkle without harshness, with a tiny bit of fishman transducer blended in for bite."
Chris Stevens - R-121's - Drums
"I've had a pair of 121's for about a year now, and I love 'em. My studio isn't big enough to give me a really good natural reverb (for drums). So, I started leaving the door to the garage open (studio and garage are adjacent), and running a pair of 121's in a blumlein array at the opposite end, with a couple of distressors on 'em. I then delay the ambient track in Pro Tools about 90-100 ms, and raise to taste. WOW! Big drum sound from a small space."
David Mendez - film composer
R-122 front side blended with SM-58 - acoustic guitar
"Oh man! What an amazing microphone! It really is the perfect combo for the Millennia TD-1 and acoustic guitar. It is hard finding that perfect microphone for recording my guitar, but I can now relax and be assured that the R-122 puts a smile on my face."
Ben Taylor - Omni Classic Recording
"I was so blown away at the creamy yet detailed sound I was able to get from the R-122s that I can't imagine it getting any better. I placed them in a near coincident pair (not even Blumlein) and both mine and my colleague's jaws dropped at the same time,.....and stayed there for the remainder of the recording."