Royer Labs - R-10 Passive Ribbon Microphone, Studio Recording Mic for Instruments and Vocals

In studios and on live stages around the world, the R-121 is the sound of electric guitars... and so much more! The R-121 is Royer's flagship microphone - the iconic, radically engineered ribbon mic that put modern ribbons on the map in the 1990s has changed the meaning of natural sound for engineers and musicians around the world. The undisputed #1 first-call ribbon microphone for electric guitars, R-121s are equally well suited for trumpets and all brass instruments, drum rooms, percussion, piano, and much more. The R-121 delivers a warm, extremely natural sound pickup in a compact, light-weight, high-output package that's easy to position, and it handles massive SPLs famously (160dB #1kHz). R-121s are built to use on guitar ramps from small combos to wide open high-wattage heads, trumpets from close-up muted to blow-your-hardest blaring, drums, and other high SPL applications. But its nuanced, natural sound pickup is also beautiful on quiet instruments like fingerpicked acoustic guitars, harp, flute, light percussion and others. The R-121 is warm, smooth and musical, giving phenomenal results on a wide variety of instruments.

In 2022, we introduced the R-11, the world's first phantom powered, active ribbon(TM) microphone. It was a revolutionary development in ribbon mics, combining impedance matching circuitry with condenser-like output levels that allowed the R-122 to be used on even the quietest sound sources. It also allowed the mic to be paired to virtually any preamplifier. The R-122 MKII takes the R-122 to a whole new level, delivering unprecedented flexibility for ribbons via the addition of a switchable -15 dB pad and a switchable bass-cut filter. The switches are completely cut out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-22. The switches are located on the back of the microphone and recessed to prevent accidental activation. Features: · Phantom powered circuitry provides high output and impedance matching · -15 dB pad before the mic's electronics gives more headroom when activated · Bass cut filter reduces proximity effect and bass below 100 Hz when activated · High SPL Capabilities · No distortion up to maximum SPL rating · Extremely low residual noise · Ribbon element is not affected by heat or humidity · Absence of high frequency phase distortion · Equal sensitivity from front or back of element · Consistent frequency response regardless of distance · Rear side of mic records slightly brighter when three feet or closer to sound source

The SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labled Upper and Lower, for the upper and lower capsules of the microphone (when held vertically). The SF-12 is uncanny for creating you-are-there stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well. If you pay carefull attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.