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the 121 rules the guitar amp world, that was my next step on the R-101 journey. Starting out side-by-side on a clean, tremolo-infected Roland JC-120, both microphones sounded excellent and at times were difficult to tell apart, as they do share stylistic similarities. I ended up using both in the mix, panned hard right and left. Listening extra closely, I found the R101 to have a slightly more forward and pushy top end around 10–12 kHz, and a rounder low-mid response, while the R121 was a bit more natural across the spectrum. Results were similar on both a cranked-up vintage Marshall JCM800 and screaming Fender Twin. All in all I found the R-101 every bit as useful as my trusted R-121 on guitar cab, and they pair equally as well with mics like the Shure SM57 and SM7 and Sennheiser MD421 for a thick wall of guitar tone. Acoustic instruments and vocals On acoustic guitar I would recommend turning the microphone around as its back side is slightly brighter than its front (just like that on the R-121), and as such it captures the sound of strummed guitar with smoothness for a nice classic folk vibe, without the excessive jangle of many modern large-diaphragm condenser mics. The R-101 is also a good choice for flutes, clarinets and high-end wooden recorders

like a Moek; again its signature is full and naturally clear, but not shrill or piercing. Lastly I pulled out the R-101 for male vocal duties, and was again impressed. The singer had a modern crooner style and the smooth ribbon sound, with the slight brightness peak, sat nicely in the song even before mixing began. Comparing silk and silk I remarked to my Editor as I finished this review that I enjoyed working with the R101, both on its own merits and as a way to remind myself of how wonderful it is to have my tried and true, and occasionally overlooked, R-121 in my locker. In comparing and contrasting the two subtly different sounds I remembered why the R-121 has been my go-to ribbon for so many years! Between the two, I would give the edge to the R-121’s naturalness for overheads or as a room mic, but for flutes, kick drum, and especially voice, the R-101’s high presence makes it a better choice in those areas. On acoustic guitar as well as guitar cabs, it’s a taste-driven, case-by-case tossup; they both rock on said sources. While I use the words ‘high’ and ‘presence’ when comparing the R101 with its sibling, keep in mind that these are still ribbon mics, Royer ribbon mics to be precise. They have a silky hi-fi sound, and neither one is as bright or airy as a good

high-quality condenser, nor are they as forward and punchy as a typical dynamic microphone. And they are definitely in a different class compared to many of the dark, swampy low-cost import ribbons. Wrapping it up With the cost savings from the offshoreproduced body, at $799 street this makes the R-101 Royer’s most affordable microphone yet. Also be aware that the R-101 is not a poor man’s 121. Both mics do their own thing and will happily live side-by-side in a mic locker without jealousy or prejudice. Whether you are in the market for your first ribbon, stepping up from a budget model, or just looking for a new flavor, this mic will not disappoint. There are ribbons and there are Royers... and the R101 is a Royer through and through. Price: $895 More from: Royer Labs, www.royerlabs.com. Paul Vnuk Jr. (vnuk@recordingmag.com) is a recording engineer, musician, producer, and sound designer, living and working in the Milwaukee area. His latest project is Continental Drift, a cinematic world-music sample library for Sony Creative Software. Learn more about Paul’s sonic exploits at www.majale.com.
http://www.royerlabs.com http://www.majale.com http://www.greatriverelectronics.com http://www.greatriverelectronics.com
Recording - December 2010

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