The Royer R-10 is a passive mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank California factory, the R-10’s sound, and performance are all-Royer and it handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allow for flexible, unobtrusive positioning.
The R-10’s 2.5-micron aluminum ribbon element is formed with our patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise.
The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability.
The R-10 utilizes a David Royer custom-designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats.
In 2002 we introduced the R-122, the world’s first phantom powered, active ribbon™ 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 MKll 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 out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-122. The switches are located on the back of the microphone and recessed to prevent accidental activation.
The R-122 MKll’s switchable -15 dB pad is positioned before the microphone’s electronics and, when engaged, eliminates any potential for headroom-related distortion on even the loudest sound sources. Wide-open electric guitars are no problem. With the pad in, the R-122 MKll’s output is actually 2 dB lower than our flagship R-121.
The R-122 MKll’s well-designed pad has no sonic imprint. Once levels are matched, the R-122 MKll reproduces sound exactly the same with the pad in as with the pad out.
The Bass Cut
When switched in, the R-122 MKll’s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic’s bass buildup due to proximity effect. This smooth filter is extremely useful on vocals, many acoustic instruments, and close-miked electric guitars when less bottom end is desired.
The R-122 MKll’s electronics are hand-wired in our Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response than traditional ribbons, making it a first call ribbon mic for drum overheads, percussion, and all acoustic instruments.