How to

Recording electric guitar

Royer R-series ribbon microphones are known around the world as the first-call mics for electric guitar. Here are well-proven starting places for miking guitar cabinets in the studio and on stage.

Royer R-series ribbon microphones are known around the world as the first-call mics for electric guitar. From Foo Fighters (R-121s and R-10s), Green Day (R-121s), Aerosmith (R-121s), Van Halen (R-122Vs) and Muse (R-122s) to Johnny Marr (R-121s), Diana Krall (R-121s), Kenny Chesney (R-121s), Rita Coolidge (R-121s), Sam Smith (R-10s), Lana Del Rey (R-121s and R-10s) and countless others, Royer is what engineers choose to capture the biggest, fullest, most natural-sounding electric guitars possible.

R-121s on the guitar cabinets of Joe Perry’s live rig with Aerosmith
Aerosmith: R-121s on Joe Perry’s live rig
R-121 in front of Johnny Marr’s Fender Deluxe amp
R-121 on Johnny Marr’s Fender Deluxe
R-121s close-miking a Kings X guitar cabinet
R-121s on Kings X guitar cabinet
R-121 and SM57 held together in a Royer AxeMount dual mic clip
R-121/SM57 in Royer AxeMount dual mic clip

Before miking up

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.

Miking electric guitars in the studio

Here are a few great starting places for miking guitar cabs with R-121s, R-10s, R-122 MKIIs and R-122Vs. 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.

A small flashlight shining through the grille cloth to find the speaker dome
Using a flashlight to find the speaker dome
R-121 positioned close to the grille cloth of a guitar amp
R-121 on amp
R-121 on a guitar amp at a Melissa Etheridge session
R-121 on amp, Melissa Etheridge session

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.

Distance miking

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.

R-121 placed at a distance from a guitar cabinet
R-121 at a distance

Blending mics

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.

R-121 and SM57 side by side on a guitar speaker
R-121/SM57 blend
R-121, SM57 and 421 on a Coal Chamber guitar cabinet
R-121/SM57/421 blend on Coal Chamber cabinet
R-121, SM57 and Mojave MA-301 on John Petrucci’s guitar cabinet
R-121/SM57/Mojave MA 301 blended on John Petrucci’s guitar cabinet
R-121 and Mojave 201 on Brian Setzer’s live guitar cabinet
R-121/Mojave 201 blended on Brian Setzer’s live guitar cabinet
R-121 and a condenser mic on a Mana guitar cabinet
R-121 and condenser blended on Mana guitar cab
R-121 and a condenser mic on a Mana guitar cabinet, live
R-121 and condenser blended on Mana guitar cab

How to position an R-121 and SM57

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.

Preamp impedance

R-121s like to see an input impedance of 1.5K from your mic pre. Even 1.2K is fine, but if the impedance is much below that you’ll start losing sensitivity and low end.

There are several excellent mic pres available: Great River, Manley, API, Neve and more. 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-121s 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!

More photos of pro setups

Here are a few more photos of pro setups. Look and learn!

R-122 on Keith Urban’s live guitar amp
R-122 on Keith Urban’s live amp
R-121 and a condenser mic on Ben Harper’s guitar cabinet
R-121 and condenser on Ben Harper’s cabinet
R-121 inside George Thorogood’s live isolation cabinet
R-121 on George Thorogood’s live iso cabinet
R-121 on a Deluxe amp used by Barenaked Ladies
R-121 on Barenaked Ladies’ Deluxe
Two R-121s on a Kings X guitar cabinet
Two R-121s on Kings X cabinet
R-121s on jazz guitarist Pat Kelly’s amps
R-121s on jazz guitarist Pat Kelly’s amps
R-121 at a distance from a guitar amp at a Ray Charles and Norah Jones session
R-121 at distance on Ray Charles, Norah Jones session
R-121s on Matchbox 20 live guitar rigs
R-121s on Matchbox 20 live guitar rigs
R-121s on a guitar cabinet at a Train session
R-121s on cabinet, Train session
R-121, SM57 and 421 on a Vox amp at a Melissa Etheridge session
R-121/SM57/421 on Vox, Melissa Etheridge session
Another view of the R-121, SM57 and 421 on a Vox amp at a Melissa Etheridge session
R-121/SM57/421 on Vox, Melissa Etheridge session