Pictured and mentioned in [this *AudioTechnology* magazine article](http://www.audiotechnology.com/coldplay-live-how-its-done/) about the Ghost Stories Tour, erroneously typed as a portmanteau of Royer's SF-12 (a stereo coincident ribbon mic) and R-121. > Jonny Buckland’s pedalboard is a two-man lift. Meanwhile, the rack (which is replicated for redundancy’s sake) packs his wireless receivers, TC2290 delays, Line6 processing and an Eventide Harmonizer. The Fender amps are serviced by Shure SM57s, with a coincident Royer SF121 [*sic*] ribbon on one cab.more
"What microphones did you use to record your guitars? I use a Shure SM57 positioned on axis a couple of inches from the cone. On some tracks the engineer, Ryan Hewitt, added a Royer R-121 ribbon mic, positioned about 15 feet away, in order to capture some of the room sound. We used a Telefunken Ela M 250 tube condenser mic on the acoustic guitars."more
Used for "Get On Your Boots", as stated by producer Declan Gaffney. > "Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. (...) Edge's thick guitar sound is entirely from the live band session, recorded with two Royer 121s, one on his Fender Deluxe and the other on his AC30, and the mics went through the Neve and then an LA2A, though it's not doing anything, it was just there for the sound. When recording Edge's cabinets, it's almost always a 121, or a Sennheiser 409, occasionally a 57. I record completely flat, because Edge will have found a great guitar sound, and you just record it." The 121 was also used on *Songs of Experience*, as stated by engineer Math Bishop in [this ProSoundWeb article](https://www.prosoundweb.com/channels/recording/recording-engineer-math-bishop-chooses-focusrite-for-new-u2-album/). > “With The Edge I’d always have a Royer 121 and a [Shure] SM57 set up on the amp, and on these sessions I ran them through the Focusrite ISA 828."more
"I have an [AKG C414 TLII](http://equipboard.com/items/akg-c414-tlii) for vocals and acoustic guitar, a couple of Royer R121s and some [Shure SM57](http://equipboard.com/items/shure-sm57-instrument-vocal-mic) and [58s](http://equipboard.com/items/shure-sm58-vocal-microphone) for guitars, and that's it." - [Ken Lawrence](http://www.soundonsound.com/sos/jul13/articles/it-0713.htm).more
"The band tours nearly 300 days a year so to keep things running as efficient as possible Barakat uses a Kemper Profiler so he can quickly access all the band’s recorded tones and even shared settings given to him by Mark Hoppus of Blink 182. For his clean tone he’s using an AC30 model that’s miked with a Royer R121 ribbon microphone and for the more aggressive stuff the core tone is sampling from Barakat’s Budda Superdrive 30."more
"I use a Royer R-121 and Shure SM7 and sometimes a Sennheiser MD 421 on my cab. That’s going through a Retro compressor, a Burl Mothership [analog to digital converter], an Empirical Labs Fatso compressor, and a Dangerous Music BAX EQ. That signal chain’s amazing, but everything else is just coming through my pedalboard."more
"In general I used both Shure SM57 and Royer R-121 ribbon mics, a few inches back, just off the center of the cone, give or take an inch or two depending on the part. When you back the mics off a bit, it can help a part sit in a track better, especially if there are more that two guitar parts."more
There are few things I DON'T like to use this on. Really shines on Guitar cabs, drum OH's, warm on acoustic especially when paired with a condenser to add in some "sparkle". Also will frequently pair it with a 57 or other dynamic & blend to taste (always check you phase!). These are hardly secrets, these techniques are widely used but for good reason. It sound so damn good!
Can handle high SPL (I however can not break the habit of handling them while setting up/take down/etc like the much more fragile vintage ribbons of the past). It's another "essential" in my locker.