Recording - September 2015 - 30

Royer R-122 MKII

Piano
The R-122 MKII worked great on baby
grand piano, placed in a spaced, low
strings / high strings setup, again with
the filter engaged to avoid too much low
harmonic buildup. We wanted a very forward pop-fullness to the piano that would
both anchor and cut through a mix, rather
than an overly pretty jazz or classical
tone that could stand largely on its own.
I found that the Royers paired well with
two small FET condenser mics to accomplish this task. (I used the Roswell Pro
Audio Mini K47 mics, reviewed elswhere
in this issue.) In this side-by-side setup,
much like with a R-121/SM57 setup on a
guitar cab, I was able to nicely balance
the smooth fullness of the ribbon on the
piano strings, with just the right amount of
solid forward thrust from the condensers.
Leslie cabinet
I am tracking and mixing this album
LCR, i.e. all sources panned hard left,
right or center. As such, when it came to
tracking the organ parts through a real

Leslie cabinet, I knew that wide stereo on
the rotors would probably not be the way
to go for every song. I didn't want things
to be too psychedelic or even seasick!
Here Royer's John Jennings clued me
into the technique used at Ray Charles'
studio when tracking Billy Preston on
"Here We Go Again," Ray's 2004 duet
with Norah Jones. The technique is simple: I just placed one R-122 MKII on the
upper rotor and the other over the bass
end. At my studio I got the best and fullest
sound with each mic horizontal vs. vertical, with no filter or pad. It was instant,
smooth classic rock organ tone.
Vocals and more
This is another area where I don't often
use R series mics. On a project like this,
I'd usually prefer an RCA-style big ribbon
like the crooners would have used. Still,
the R-122 MKII was successfully tackling
so many other duties on the record, I
decided to try it on vocals for one song.
On this particular song, I have used
nothing other than ribbon mics, all tracked

through a Locomotive Audio 286A microphone preamp (review forthcoming).
Note that this song has gobs of lap steel
guitar tracked through a pair of vintage
Fender amps in stereo, each tracked with
one of the R-122MKII mics as well.
I again engaged the low cut to thin out
some of the proximity effect, placed the
mic about an extended hand length
behind a nylon pop filter... and was surprised yet again! The vocal sat nicely and
comfortably in the mix with a fantastically smooth, forward, even weight.
I have not gotten there yet, but I look
forward to trying out the R-122 MKII on
percussion, shakers, group backing
vocals, and more, as tracking wraps up.
Conclusions
The best compliment I can give to the R122 MKII is that this is hands down the
most versatile microphone that Royer Labs
has produced to date! From here on out I
expect it to be Royer's most popular model.
This is now the true workhorse of the Royer
line. I fully expect engineers to be extolling its
virtues 20 years from now and beyond, just
as we currently do with the R-121. Royer has
really knocked this one out of the park.
Price: $1850
More from: Royer Labs, www.royerlabs.com


http://www.royerlabs.com http://www.cloudmicrophones.com http://www.cloudmicrophones.com

Table of Contents for the Digital Edition of Recording - September 2015

Contents
Recording - September 2015 - Intro
Recording - September 2015 - Cover1
Recording - September 2015 - Cover2
Recording - September 2015 - 1
Recording - September 2015 - 2
Recording - September 2015 - 3
Recording - September 2015 - 4
Recording - September 2015 - 5
Recording - September 2015 - Contents
Recording - September 2015 - 7
Recording - September 2015 - 8
Recording - September 2015 - 9
Recording - September 2015 - 10
Recording - September 2015 - 11
Recording - September 2015 - 12
Recording - September 2015 - 13
Recording - September 2015 - 14
Recording - September 2015 - 15
Recording - September 2015 - 16
Recording - September 2015 - 17
Recording - September 2015 - 18
Recording - September 2015 - 19
Recording - September 2015 - 20
Recording - September 2015 - 21
Recording - September 2015 - 22
Recording - September 2015 - 23
Recording - September 2015 - 24
Recording - September 2015 - 25
Recording - September 2015 - 26
Recording - September 2015 - 27
Recording - September 2015 - 28
Recording - September 2015 - 29
Recording - September 2015 - 30
Recording - September 2015 - 31
Recording - September 2015 - 32
Recording - September 2015 - 33
Recording - September 2015 - 34
Recording - September 2015 - 35
Recording - September 2015 - 36
Recording - September 2015 - 37
Recording - September 2015 - 38
Recording - September 2015 - 39
Recording - September 2015 - 40
Recording - September 2015 - 41
Recording - September 2015 - 42
Recording - September 2015 - 43
Recording - September 2015 - 44
Recording - September 2015 - 45
Recording - September 2015 - 46
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Recording - September 2015 - 49
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Recording - September 2015 - 67
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Recording - September 2015 - 70
Recording - September 2015 - 71
Recording - September 2015 - 72
Recording - September 2015 - Cover3
Recording - September 2015 - Cover4
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