Royer Labs R-10 MP Matched Pair Ribbon Microphones

 

   

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The R-10, a passive mono ribbon microphone that's hand-built in Royer's Burbank, California factory, incorporates advancements pioneered by Royer Labs, and is designed for use both in the studio and on live stages. Its all-Royer sound and performance allows it to handle sound pressure levels (SPL) of up to 160 dB @ 1 kHz. Its compact size and mounting system enables versatile, unobtrusive positioning. The ribbon transducer is wired for humbucking, so it rejects electromagnetically-induced noise, plus the patented offset-ribbon design positions the ribbon element more towards the front of the transducer, allowing for the handling of higher SPL when using the front (logo) side, along with the option of a brighter response when recording lower SPL sound sources on the back side (3ft or closer; phase reversed position). Its 3-layer windscreen system provides top-quality protection from air blasts and plosives, while also reducing proximity effect (bass buildup from close-miking) and allowing for close-miking of guitar cabinets along with acoustic instruments, with less bass buildup. The 2.5-micron aluminum ribbon transducer element is internally shockmounted, isolating it from shocks and vibrations, and increasing it’s durability. It's an ideal choice for vocals, electric guitars, brass instruments, drums, and more.

The Sound The R-10 utilizes a David Royer custom-designed transformer for high overload threshold, which minimizes saturation, even at extremely high SPL, so you'll probably never overload it. Its open-grille design means that standing waves and associated comb-filtering effects are highly reduced, and its smooth frequency response, phase linearity, plus lack of self-distortion make it great for digital recording as well as live sound applications.

Regarding electric guitar, it captures all the low end, midrange warmth, and punch that guitarists and engineers have come to count on from a Royer. It delivers more bite in the highs with no need to multi-mic (particularly on live stages where mixing mics can create phase-related problems), it takes EQ beautifully.

Excellent on brass, it can handle close-mic'd trumpets, trombones, and others as well. Brass records naturally on it, as bright as the musician may play but without the added sizzle or harshness commonly experienced when condenser mics are used for brass instruments.

When used on drums, it delivers a full-bodied sound with realistic (not over-hyped) transient response, and its figure-8 pattern offers excellent ambience and depth in room-miking use. An R-10, when compressed in front of the kit, gives it a huge, punchy sound.

For recording of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos, plus other stringed instruments, it sounds warm and natural and easily fit into the mix. Opening up a bit of 12K with an EQ can “air out” the recorded track and often gives surprisingly good results.

Using the R-10 on vocal recording delivers warm, natural audio, and its EQ-friendliness enables the 'dialing in' of completely different sounds when EQ is liberally used (as an experiment, you can try cutting bass at 100 Hz and opening up 12K by 3 to 6 dB - or more!).