Royer Labs R-121 - Manual (Page 11)

A kick drum should be miked at a distance of at least 18 inches and possibly used in conjunction
with a blast filter to prevent excessive ribbon movement. If the front head has a hole cut in it,
position the microphone away from the hole to avoid excessive air blasts. An R-121 used as a
mono room mic, four to six feet in front of the kit and compressed, will yield a surprisingly
large, full drum sound.
For closer miking of a kick drum (10 to 18 inches), the microphone should be leaned forward at
a 45-degree angle to protect the ribbon element from excessive plosive forces (See Example 3).
This microphone position also provides good kick drum isolation because the top of the
microphone, which does not pick up sound, is aimed at the rest of drum kit.
Recording Loud or Plosive Sounds
With all ribbon microphones, wind is the enemy! Air movement is far more damaging to ribbon
microphones than high SPL’s. Some sound sources can generate powerful blasts of air that
should be avoided. Kick drums and electric guitar and bass amplifiers are typical examples of
sound sources that can produce harmful air currents. One way to determine if the air pressure is
excessive is to place your hand in front of the sound source (the kick drum, the guitar cab, etc.).
If you feel air movement, do not put your ribbon microphone there. A simple technique that can
avert damage due to overstressing the ribbon is as follows: After choosing the optimum
placement for the microphone, slightly angle the microphone in such a way that the percussive
wave is not directed at the front of the mic “head on.” Often, a slight angular tilt (either
vertically or horizontally) is all that is required to prevent harm to the ribbon. (See Example 1)
1. Example of the Vertical Positioning Technique
Slight off-axis positioning will minimize stressing the ribbon on loud sound sources.
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