Eddie Kramer presented Royer R-121 S/N 500...

NY Chief · Post by **NY Chief** » Wed Mar 08, 2006 7:31 pm

Eddie Kramer Receives Royer Labs’ 5000th R-121 Microphone Mar 6, 2006
8:03 PM Eddie Kramer, the noted record producer and engineer who has worked on recording sessions with the Rolling Stones, Led Zeppelin, Jimi Hendrix, Kiss and other artists, recently became the recipient of Royer Labs’ 5000th R-121 dynamic ribbon microphone. Unlike standard production run R-121s, which are silver in appearance, the 5000th unit presented to Kramer is specially finished in black and is engraved with the number 5000. The microphone was presented to Kramer during one of his periodic visits to Royer headquarters, during which time Kramer gave the Royer staff one of his prized photographs of Led Zeppelin. Acknowledging the significance of this particular microphone, Kramer noted, “I’ve enjoyed a long-standing relationship with Royer, and this mic is, indeed, very special to me. With the addition of this particular R-121, I’m pleased to say I now have a stereo pair. Most of the stuff I do is rock, so for me, the R-121’s primary application is miking guitar amps. The R-121 is one of the centerpieces my guitar sound.” For more information on the R-121, visit www.royerlabs.com.

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 9:04 am

That was a nice gesture for Royer. I just recieved my #5064 Royer 121 last week. Without my name engraved on it! Damn them! LOL!

If only I could get Eddie to spill the beans on what Nuemann mic he was using on Bonhams bass drum for the Madison Square Garden shows in 73 and the 4x12 cabs as well. Was it a Neumann U87 or U67 that the Electric Lady Mobile unit used. My guess is a U87, I am planning on buying an older one this week.

I have used the Royer 121 with my Neves and Ampex 440 multitrack once so far. It is a super large sound compared to a 57 and very smooth. I have found it a little dark for my 67 SLP. However the presence was set on 5. I am going to raise the presence up and move the mic position around some more. I also am going to try my 69 SLP on it. The 67 is a darker sounding amp to begin with.

Cheers,

Eric

NitroLiq · Post by **NitroLiq** » Thu Mar 09, 2006 10:47 am

Well, to be honest I'm sure he wasn't suing any condenser mic on Bonham's kick, especially in a live setting. If any neumanns were used at all for that, it would be for Crowd miking or Bonham's overheads....most of the mics they probably used were in the shure SM57 vein. Look at some pictures from TSRTS and look at the miking...you can see what I mean. Even in the studio, I don't think he would put a condenser straight on the kick...maybe further back for a bit of ambience but not directly on the head...for that, they'd use a dynamic mic.

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 1:14 pm

Nitroliq...

Look at the film footage of RAH and SRTS you will see a U67 or 87 on one of Page's 4x12's and one on Bonhams bass drum at Royal Albert Hall (about 8-10" back). I have seen a SM 7 (not SM57) on Bonhams kick, and even a RE20, Senn 421. And better yet two RE20's used as Overheads. For regular 1973 live shows, which Showco did sound, I see MD 421's, shure 545's, Unidyne and even a AKG D12 (not a D112) on bass drum. RE20's pop up alot in 1975 and 1977 tours and a SM 7 in 1979.

But in TSRTS there is a U67 or 87's on the overheads and Page has one set a few inches back from his middle 4x12 and Bonham has 2-3 I am pretty sure as well. On Royal Alber Hall Jonesy has a U87 or 67 on his 301 cab. Refer to the "The Ocean" MSG 73 footage for a clear view of Neumans on Bonahm and Page. Refer to RAH 70 for shots of Neumans on bass cabs, bass drum and guitar cabs. On the internet there is a great picture of Bonahm with his 1969 Maple 3 ply kit with a U87 or U67 a few inches in front of the bass drum (with a front head and no hole like it should be)

They were clearly using Neumann's for performances that were being pro-filmed and recorded. They are easy to spot as they are so large. As to wether they are U87's or U67's I am not sure since the two mic's look very similar. The U47 has a different grill and is easy to spot. Since the U87 was introduced in 1967 I suspect they would have gone with the new model.

I have used U87's & 67's when I worked for Elixer Studio's and now I want a U87 to try one on my 4x12's. If it does not work then at least I will have another overhead for my 1972 Amber Vistalite Bonhams set and general studio mic. I have used LD Rode condensors on our 14x26" Vistalite bass drum with no problem. You just switch a 10db pad on it and away you go. It is a fuller tone than the D112 types. However the RE20 is hard to beat on bass and I often use a combonation of both LD condensor and LD dynamic (RE20) plus a couple of LD condensor overhead mics.

Cheers,

Eric

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 1:49 pm

Note link below... A Neumann U87/67 on the 14x26" maple bass drum.

http://www.ledzeppelin.ru/pa/im/JB_Roya ... n_1970.jpg

NitroLiq · Post by **NitroLiq** » Thu Mar 09, 2006 2:17 pm

Interesting...I'll have to watch it more critically next time then. I've triple-miked a kick using the 87 as a distant mic but always had a D12 or RE20 for the oomph and 57 or 421 for the beater. Never used an 87 straight on...I know someone's who's miked a kick with a ribbon mic so anything's possible I suppose (with a lot of padding)...hehe It's been a looong time since I worked in a studio...miss that M49 for vocals. I should shut up...I've probably forgotten more than I ever knew.

Post by **VelvetGeorge** » Thu Mar 09, 2006 2:34 pm

Lots of LDC used on kick along with dynamics. Same for guitar cabs. I have also heard of ribbons on kicks, but always with a wind screen, or off axis. Or both!

George

BTW how bad do I want a 121?????? Or even a phantom powered 122.

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 2:48 pm

Nitroliq,

I use a mic on the beater as well. I did a little more inspecting on the TSRTS, a RE20 is pretty evident on the picture below which I attached. I doubt it is a U87 in a horizontal position. The picture is from TSRTS. I am not sure what night this is from since they filmed it over the course of 3 nights. They may have tweaked things as the shows went on. In fact I am sure they did.

http://www.saladrecords.com/images/BonhamFilePic.jpg

I am ready to go ahead take a chance and stick a U87 in front of my 67 & 68/69 SLP. If I kill it..it's my fault

...however I am going to do what I can to prevent damage and overloading via pads. As I have said the Rode LDC can take it in front of a 14x26 bass drum with a pad no problem. Also the Royer 121 is often used for bass drum miking so I have read. I will try that soon. First I want to see what the Royer does to my 69 Metro SLP and then a U87 on my 67 SLP.

Cheers,

Eric

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 2:56 pm

George,

A number of folks have said on different forums to avoid the R-122 for Marshall cabs. The 121 is better suited some say. All I can say is the sound from a 121 through Neve straight to tape at 15ips is the biggest guitar sound I have ever gotten. Period. But it is very dark..so I am going to raise the presence up to 10 and see what happens. Problem is the presence squeal is really BAD even at five. I did run the purple wire away from the pot like you suggested but it is still going nuts when I am full out and standing in certain spots. My PU's are not wax-potted which may be a problem?

Cheers,

Eric

rockstah · Post by **rockstah** » Thu Mar 09, 2006 3:00 pm

not to hijack...curious which pickups might those be?

NitroLiq · Post by **NitroLiq** » Thu Mar 09, 2006 3:18 pm

You could also try a 57 miked on the sweet speaker then play with the putting the 87 at different parts on the back of the cab...i've tried that aiming it at the top right corner of the back and got some interesting thickness to add to the 57....if you have the time to do it, experiment a bit.

I have a beta 57 that's crapping out...going to replace it with a regular 57 which I prefer. And, If I can scrap the money together I'll either try a Rode NTK tube mic for vocals or find a used 414TL II (not the new one) which I've seen for $6-700. It's just not a major priority at the moment as I'm just recording my own little ideas for my own entertainment and learning...a plain old 57 suffices.

15ips gives major bottom to recordings. We used to run drums/bass tracks to 2" at 15ips alot when I worked in the studio's midi room...popular to do with hip-hop tracks.

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 3:19 pm

Rockstah....what in the world?... I only want to talk about Royer's and Neumann's. Nothing else matters to me ...nothing! LOL. Just kidding. You can hijack if you must.

Pickups you say?

They are BB's unpotted. The guitar is a 2005 Gibson CS Historic Reissue 1959..50's wiring..CTS pots, Bumble Bee caps etc. I love feedback but the 67 SLP gets pretty finnicky when I stand in certain postions. Even with the Echoplex and Vox in or out of circuit it wants to go off.

The PU's will have to due until I get my Tims PU's.

Cheers,

Eric

rockstah · Post by **rockstah** » Thu Mar 09, 2006 3:24 pm

what in the world!

never heard of either of them pickups...

thanks!

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 3:25 pm

Nitro...

The 414's are highly regarded and I have never used them for 4x12's cabs.

Are you suggesting to mic with the U87 off to the side of a 4x12 cab or do mean an open back type of cab?

I am going to exp with the Royer and shure 545 on the 4x12 cab soon.
I am limited on tracks for my mobile ampex 440 mulittrack to 4trks 1/2" but I have another 1" Ampex 440C machine I am getting ready to build a custom raod case for so I can take it on location and record more tracks at once.

Cheers,

Eric

Myopic Void · Post by **Myopic Void** » Thu Mar 09, 2006 3:28 pm

BB's... are Burst Bucker's..Gibson PU's on the CS Historic line. The other PU's are ones I am having custom wound by a PU builder.

Cheers,

Eric