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Post by Mister Chase on Aug 11, 2019 11:47:08 GMT -6
I've got an AEA R84, a couple of GT Velo 8's and a Coles 4038. The Coles needs a twin some day, and I'd like some Nuvo Mic's(N8 and N22) an R92 and a Beyer M160. But a Royer is what is coming first.
What do I do with it?
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Post by trakworxmastering on Aug 11, 2019 12:11:01 GMT -6
Put it in front of an electric guitar cab. Smile. Repeat.
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Post by notneeson on Aug 11, 2019 12:18:42 GMT -6
Kick out is a fav for me.
They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality.
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Post by Tbone81 on Aug 11, 2019 12:47:25 GMT -6
Kick out is a fav for me. They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality. Interesting. How close can you get on kick out without being worried about damaging the mic from high SPL? |
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Post by notneeson on Aug 11, 2019 13:00:16 GMT -6
Kick out is a fav for me. They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality. Interesting. How close can you get on kick out without being worried about damaging the mic from high SPL? Couple inches. I often use a pop filter but in addition to using my hand to locate a “gust free” zone. 121 on Kick Out |
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Post by Mister Chase on Aug 11, 2019 14:06:27 GMT -6
Put it in front of an electric guitar cab. Smile. Repeat. This was my line of thinking so far. Since I am a guitar player, I thought I would like to have a more "guitar centric" ribbon. The m160 sort of fits that descrip, as well as the Nuvo N22.
I like the idea that the 121 is sort of a modern take on a classic design. Neodymium has a unique sound in pickups and speakers, so I figured the mic could be fun. It seems like it would work close and far from the cabinet. My other ribbons really only work for me a foot back or so because of proximity effect. Dialing that out can actually be kind of difficult as it tends to take away other stuff I like in the sound.
There is definitely proximity effect on the 121, but it seems less obtrusive somehow.
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Post by Mister Chase on Aug 11, 2019 14:07:29 GMT -6
Kick out is a fav for me. They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality. I am definitely looking for kick out options. I cycle through my mics and haven't found "it" yet. I don't have a fet47 so that is part of it I guess.
What style of music is this working for you on?
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Post by notneeson on Aug 11, 2019 14:14:27 GMT -6
Kick out is a fav for me. They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality. I am definitely looking for kick out options. I cycle through my mics and haven't found "it" yet. I don't have a fet47 so that is part of it I guess.
What style of music is this working for you on?
Anywhere that you want the bottom octave to bloom. Typically paired with a kick in, or in this case a beater side mic for more presence and attack. I tend to eq the kick in and leave to Royer alone. I’m using the Royer almost how I imagine people use a sub kick, it’s more full range than that, but I’m setting it in the mix based on where the lows sound balanced and natural (or not, depending on genre). I’ve used it for Americana a lot, but paired with a kick in, I wouldn’t hesitate to use this combo on any kind of Rock. I’ve also used the R-101 here (not bad) and the Beesnees Arabella, which is different but also good and able to that s surprising amount of SPL. |
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Post by Mister Chase on Aug 11, 2019 16:08:07 GMT -6
Excellent. Thanks for the detailed response.
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Post by trakworxmastering on Aug 11, 2019 16:53:00 GMT -6
Put it in front of an electric guitar cab. Smile. Repeat. It seems like it would work close and far from the cabinet. My other ribbons really only work for me a foot back or so because of proximity effect. Dialing that out can actually be kind of difficult as it tends to take away other stuff I like in the sound.
There is definitely proximity effect on the 121, but it seems less obtrusive somehow.
Yes I use mine close or far on cabs. And you can use the back of the mic for less low end. |
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Post by Mister Chase on Aug 11, 2019 17:24:34 GMT -6
Fannnnnntastic. This will be fun.
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Post by jamiesego on Aug 11, 2019 17:48:25 GMT -6
Ribbons are interesting because they can be very similar but still excel at different things.
I’ve got two M160’s, two R84’s, a 121, and now a Stager SR2N on the way. I still would love to have a pair of Coles, a 44, a 77, a nice stereo ribbon.... gotta catch em all.
From what I have -
M160: overheads, acoustic, small amps like a Deluxe
R84: drum room (my favorite), vocals, strings
R121: guitar (any genre), strings,
Stager: this is going to be the new FOK mic, also killer on guitars
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Post by Mister Chase on Aug 11, 2019 18:38:56 GMT -6
True, they all have a common thread. Yet somehow they do excel at different things. That's why you can't have too many. I've found the r84 to be nice for percussion, some electric guitar amp situations, ukulele and mandolin. Nice low end but still has plenty of highs up there.
The Coles I bought just for drums, but it does great on a lot of things. That is a great sounding mic. On overheads though, amazing if you want a fat sound with guts.
The Velo 8s are great as well, I really like them on strummed acoustic quite a lot.
I'm looking forward to a real go to cab ribbon. I used to use a fathead for that when I had one, but it also had to be pulled back quite a bit.
The Stager's and Mesanovic's look great as well.
I love what I have heard from close mic'd n22's but they lose too much low end past 6 inches back, so it's not quite as versatile, but still worth it on cabs for me eventually.
Fun!
What pre's do you like with the 121? Since it's a bit more modern, does it sound good with a more colored preamp? I have a nice selection here from CAPI, Sebatron and Hardy. I imagine that will be fun to try.
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Post by jamiesego on Aug 11, 2019 20:31:33 GMT -6
I find any preamp works well with the 121. Often it’s an MCI 636 console pre here. For electric I like N72’s, Ampex 601, or even an Altec 1567. I have a john hardy that I use for strings or acoustic sometimes.
Some other quick ribbon anecdotes - I had a producer come in last year who brought an Altec birdcage ribbon and used it in floor tom and an M160 on rack tom. It sounded really good.
I’m mixing some outside tracks with horns done individually on one mic and I asked what they used because it sounded great and I didn’t have to do much. They said it was a Cascade Fathead (with I think a focusrite interface pre).
Also I got to demo a Stager SR3 for a while last year and it’s excellent on outside kick. I’m hoping the SR2N that I’ve got coming will get me in that ballpark.
I’ve been talking about doing an all ribbon mic record for a while and I think it’s probably almost time.
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Post by Mister Chase on Aug 11, 2019 20:45:51 GMT -6
I find any preamp works well with the 121. Often it’s an MCI 636 console pre here. For electric I like N72’s, Ampex 601, or even an Altec 1567. I have a john hardy that I use for strings or acoustic sometimes. Some other quick ribbon anecdotes - I had a producer come in last year who brought an Altec birdcage ribbon and used it in floor tom and an M160 on rack tom. It sounded really good. I’m mixing some outside tracks with horns done individually on one mic and I asked what they used because it sounded great and I didn’t have to do much. They said it was a Cascade Fathead (with I think a focusrite interface pre). Also I got to demo a Stager SR3 for a while last year and it’s excellent on outside kick. I’m hoping the SR2N that I’ve got coming will get me in that ballpark. I’ve been talking about doing an all ribbon mic record for a while and I think it’s probably almost time. Awesome. All goes to show that you can't have too many ribbon flavors. An all ribbon record would be fantastic. |
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Post by svart on Aug 12, 2019 7:01:55 GMT -6
Kick out is a fav for me. They also do a really love it or hate it thing on room mics that has a kind of “woody” tonality. Interesting. How close can you get on kick out without being worried about damaging the mic from high SPL? About a foot back, slightly angled, but never use it in front of the port or a hole that might puff air. The R121 is pretty rugged and I've accidentally dropped mine, put it in front of things that should have destroyed it, and accidentally plugged it into phantom. Still works great but needed to be re-tensioned once, but not re-ribboned. Yet. And yeah, it's the guitar mic for most things that don't need the "57 focus". |
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Post by michaelcleary on Aug 12, 2019 8:39:06 GMT -6
Always on electric. Occasionally on acoustic. Horns. Sometimes it’s just right on a vocal where nothing else seems to work.
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Post by adamjbrass on Aug 12, 2019 9:35:25 GMT -6
Its also phenomenal on quiet violin parts
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Post by Ward on Aug 12, 2019 11:37:08 GMT -6
Its also phenomenal on quiet violin parts V ery closely related - I had great success on solo fiddle also. |
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Post by Mister Chase on Aug 12, 2019 12:04:15 GMT -6
I was impressed with how it sounded on Steve Albini's demo clip of a trumpet vs a u67 and rca 77.
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Post by shoe on Aug 12, 2019 15:56:03 GMT -6
How close do you guys get the 121 on guitar cabs?
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Post by michaelcleary on Aug 12, 2019 17:34:57 GMT -6
How close do you guys get the 121 on guitar cabs? i've actually hung it on an amp like one does with a 409/609/906 at lower volume. higher volumes I'll go a couple inches off. |
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Post by shoe on Aug 12, 2019 21:13:25 GMT -6
How close do you guys get the 121 on guitar cabs? i've actually hung it on an amp like one does with a 409/609/906 at lower volume. higher volumes I'll go a couple inches off. Yeah I usually record relatively loud on a 40 watt amp through 4 G12H (75hz) speakers. I've been a little afraid to stick it right up to the grill. But I do see people doing that... |
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Post by Ward on Aug 13, 2019 6:15:38 GMT -6
How close do you guys get the 121 on guitar cabs? Close mic'ing is 6-12" . Mid field is about 18" . And remember: Badge side dark, plain side bright. That's my Royer technique in a nutshell . |
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Post by Mister Chase on Aug 16, 2019 18:28:06 GMT -6
The Royer has arrived.
I have played with it for a couple hours. Mandolin, dreadnought acoustic, trumpet(I suck but I can play C major/concert Bb), Ukulele, shaker, tambourine and electric guitar(of course).
This is a very interesting ribbon sound. I've owned and used Fatheads, Shinybox, GT Velo 8s, Coles, AEA R84/N22/N8 etc, and this certainly is it's own sound. It seems a bit more specialized in it's tone. Really impressed with it on trumpet and like it quite a bit on this cheapo bright mandolin. Strummed acoustic can be very good if you place it carefully(well I guess that is any mic).
I find that it has a very focused and tight sound. In some placements on my amp I thought it was quite nice, in others I didn't like it at all. It seems more hit or miss to me than my other ribbons. When it works though it is certainly nice. I've tried it on the grill, up to 3 feet back and everywhere in between. On axis off axis. It EQ's very nicely with Fabfilter. I need more time with it before I can say if it's got a permanent place in the collection here. It certainly is unique though, and that definitely has it's payoffs.
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