. From acoustic guitar, ukulele and mandolin to violin, cello, harp and virtually any stringed instruments, Royer ribbons capture the tone and feel like no other microphones can.
With Royer R-Series microphones, the back side records a little brighter than the front if the mic is 3 feet or closer to the instrument. When recording on the back side (recommended for acoustic guitar, mandolin, fiddle, and other instruments that are close-miked), be sure to flip phase at the mic pre to achieve forward-polarity recordings.
Ribbons take EQ exceptionally well. With acoustic instruments, it’s good practice to roll off low end at about 100 Hz to reduce rumble. Boosting at 10-12 kHz adds a nice sparkle that helps an acoustic guitar cut through a dense mix. Even with drastic EQ’ing, Royers will always stay smooth in the highs.
Stream Ribbon Microphone Oktava Ml 15 Acoustic Guitar By Alex_svipgroup
When single miking an acoustic guitar, a great position is 8 to 12 inches off the 12th fret, with the mic aimed at the soundhole.
Note: Due to proximity effect, the closer to the instrument you place the microphone the warmer the sound will be. For a brighter tone, back the mic off a little, an inch or two at a time until you like the balance.
Classical violinists generally record at a distance of three feet or more above the instrument. Fiddle players are usually miked closer, 15 to 24 inches from the instrument.
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A pair of R-121s or R-122s over a Dobro captures all of the body and the detailed highs without sounding piercing or thin.
One SF-24 active stereo ribbon mic with The Foghorn Stringband gathered around it playing bluegrass. This is an old-fashioned recording method that works beautifully.
Recording acoustic instruments using non-powered ribbon microphones sometimes calls for additional level to drive your mic pre or DAW. The Royer dBooster is a super-clean, in-line signal booster designed like the front end of a high-end preamplifier. With two gain levels, it’s a great compliment to Royer R-121 and R-10 ribbon mics, as well as dynamic microphones like the Shure SM7 or SM57.
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First-call mics for electric guitar. From Foo Fighters (R-121s & R-10s), Green Day (R-121s), Aerosmith (R-121s), Van Halen (R-122Vs) and Muse (R-122s) to Johnny Marr (R-121s), Dianna Krall (R-121s), Kenny Chesney (R-121s), Rita Coolidge (R-121s), Sam Smith (R-10s), Lana Del Rey (R-121s & R-10s) and countless others, Royer is what engineers choose to capture the biggest, fullest, most natural-sounding electric guitars possible.
Knowing what you’re trying to capture is important before putting a microphone up. If you’re creating smooth clean tones, miking with an R-121 alone is perfect. If you’re looking for a distorted rock tone with body and bite, or if it’s major aggression you’re after, blending an R-121 with an SM57 is legendary.
With 4X12 speaker cabinets, many times you’ll find one speaker is the best of the four. Find and mic that one. Don’t be afraid to experiment with moving the mic around – you don’t know what you’ll get until you try.
Recording Techniques And Mics For Guitar, Bass And Piano
Here are a few great starting places formikingguitar cabs with R-121’s, R-10’s, R-122MKll’sand R-122V’s. For this writing, we’ll stick with the R-121, but each of the other mics is excellent and worth your time to try out.
For the brightest sound, position the R-121 on the center of the speaker dome, anywhere from 2 to 6 inches from the grille cloth. This is the brightest position on the speaker and it’s often a perfect spot. While positioning, it’s helpful to use a small flashlight to clearly see the dome.
It’s good to know the above position and sound before moving on. Like a tone control, as you move the mic away from the center and towards the edge of the speaker, the sound will become progressively meatier and less bright.
Lucy Dacus Sings Into An Ohma Ribbon Microphone
You’ll also find that the sound changes as you back the mic away from the cabinet, often developing increased tonal complexity and low end at distances over a foot and up to a few feet away. The recorded sound at a distance isn’t as immediate and you’ll hear more of the room.
The most popular way to mic rock and pop guitars is to blend an R-121 with a dynamic mic like an SM57 or a 421. The R-121 gives you all the body and fullness of tone your speaker is producing, like what it actually sounds like in the room, and the SM57 gives an aggressive midrange and top-end bite that blends beautifully with the R-121. Dial-in your desired tone by blending the two mics to taste.
Other mics can be blended too. A nice-sounding blend is an R-122/SM57/421, and blending a condenser mic with an R-121 is common practice as well.
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Here is Grammy-winning producer/engineer Ross Hogarth blending an R-121 and 57 on session guitarist Tim Pierce. It’s amazing to hear how much variety of tone this gives you!
It’s important to position the R-121 and SM57 properly and in phase. Ross Hogarth walks you through exactly how he does that in this educational video.
R-121’s like to see an input impedance of 1.5K from your mic pre. Even 1.2 is fine, but if the impedance is much below that you’ll start losing sensitivity and low end.
The Best Microphones For Recording Acoustic Guitar
There are several excellent mic pres available – Great River, Manley, API, Neve… One of our faves for electric guitar is the Chandler TG2. It has a great overall tone, and the hi-lo impedance switch is very useful. In the low impedance setting the input impedance is only 300 ohms, which is technically a bad match with an R-121, but it wipes out so much low end that you can super-close-mic a cab and get virtually no proximity effect, leaving plenty of low end without rumble, with great mids and highs.
Listen to Kings X, with close-miked R-121’s plugged into TG2s set for 300 ohms. Using low input impedance this way is not a common practice, but you can’t argue with the sound! Engineer Michael Wagener told us he flipped the switch and after some mic position adjustments, really liked what he got. Ears before technical perfection!The N22 is an exceptional tool for recording acoustic guitar. With its near-field design, balanced low-end, and extended top-end, the N22 excels at capturing the true essence of your instrument while limiting room reflections. A bump in response at 3kHz delivers enough bite to make the N22 the only mic necessary to record your guitar, eliminating the need to blend additional mics for top-end balance.
The N22 delivers balanced sound 2 to 16 inches from the source with the help of internal mechanics which roll off the low-end of a signal before it hits the ribbon. This feature allows for better performance in close-up recording applications than one would achieve with more traditional ribbon mics due to their large amount of proximity effect.
Recording Acoustic Guitar
Try positioning the N22 roughly 4 to 16 inches from the guitar, facing the 12th fret. Within that range, you can move the N22 closer to accentuate the guitar’s low-end or pull it away to lessen that effect. Angling the mic away from the guitar’s sound hole can also lessen excessive low-end.
An acoustic guitar’s comprehensive sound comes from both the sound hole and the strings, so pulling back the N22 from the instrument allows it to blend together the two sounds.
When recording an artist that plays guitar and sings simultaneously, take advantage of the exceptional rejection offered by the null planes of the N22’s polar pattern in order to reject the vocal and isolate the guitar.
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With one N22, position it how you would normally mic an acoustic guitar, in between the sound hole and the 12 fret of the guitar. Make sure that the null of the microphone is pointing towards the singer’s mouth. With another N22, position so that the ribbon is aimed towards the singer’s voice and the null is pointing towards the sound hole of the guitar. This will limit the bleed between both microphones giving both mics a great isolation.
The further from the source, the more indirect sound will be captured in the N22. The NUVO Stereo Kit allows you to easily setup a pair of N8s in Blumlein. Blumlein technique is great when you want to capture a very direct image of the source. The technique is precise and more closely resembles what your ears are hearing than many of the other stereo techniques.
Related How-To How To Record Electric Guitar With the N22 Audio samples and techniques for tracking electric guitar with the N22. How-To How To Record Vocals With the N22 Tricks of the Trade How To Choose the Right Ribbon Microphone for the Job
How To Record Acoustic Guitar
N22 TRP2 RPQ500 NUVO Stereo Kit NUVO Blumlein Coupler RPQ2 Private: R88mk2 KU4 N8 R44 Series NUVO Windscreen Private: NUVO Travel Tube Posi-Lok Mic HangeThe final session of the $60, 000 Ribbon Mic Shootout took place at my home in Sonoma County. The artist is local songwriter and friend Michael Capella, who you might recognize from previous features in this space, such as the recent Oktava MK-012 Figure-8 capsule review or the infamous Black Lion Audio Signature Series Mod for Digi 002 (59 comments and still raging!).
Michael was feeling under
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