Royer R-122 LIVE Active Ribbon Microphone Nickel
Royer microphones are built to be tough and can handle the challenges of life on the road, but they are studio mics that require some TLC to keep from damaging the ribbon elements. With the Royer R-122 ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to place it anywhere on stage you'd like with complete confidence. Tame high-end harshness and bring Royer's legendary smoothness, warmth and power to your live performances.How After extensive testing, Royer found new ribbon thickness for the R-122 Live microphone that allowed us to significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.A Figure-8 Microphone on Stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics - not just the amount of bleed but the quality of the bleed. Here's how Royers handle the problem.Rejection Royer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point (as told by Royer): "Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that Royer R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring microphones!"Note: The polar response of the R-122 is the same as the R-121 Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer Live mics will sound natural, not harsh or colored. About Royer Live Series mics: Royer Live Series mics (R-121L, R-122L, SF-24L) were introduced in 2008, maki...details

Royer R-121 LIVE Ribbon Microphone Nickel
With the Royer R-121L ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to use it anywhere you'd like on stage with complete confidence. How After extensive testing, Royer found new ribbon thickness for the R-121 microphone that allowed a significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.Royer Live Series microphones are identified with a red Royer logo (studio models have green or black logos). Live Series mics can be converted to Studio mics with a simple re-ribbon and logo replacement. There is no cost difference between standard Studio mics and Live Series micsA figure-8 microphone on stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics—not just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.Rejection Royer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point (as told by Royer): "Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that Royer R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring microphones!"Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer mics will sound natural, not harsh or colored. About Royer Live Series mics: Royer Live Series mics (R-121L, R-122L, SF-24L) were introduced in 2008, making ribbon mics available to FOH engineers for the first time. As a group they won th...details

Royer R-121 Ribbon Microphone Nickel
The R-121 is Royer's flagship microphone and the world's first radically redesigned ribbon microphone. Royer did away with the large, heavy, fragile, "classic" approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warm, natural tonal response for which top engineers have always loved ribbon mics, but in a compact, lightweight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the Royer R-121.Like many of the best-loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But that's where the similarities end. By using advanced materials and a blend of cutting edge and old-school hand-build construction techniques, the R-121 is a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. It's built solid enough for Royer to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording magazine wrote "...the Royer R-121 is destined to become one of the classic microphones of the 21st century". Patented Offset Ribbon Technology The R-121's proprietary offset ribbon transducer (Patent Number: 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones.Recording With The R-121 Tonally, the Royer R-121 microphone hears things the way your ears hear them. Most microphones add their own characteristics to your recordings; some have a hyped high- and low-end response with scooped out mids; some are super sizzly in the highs; some accent midrange and give very little upper- and lower-end frequency response; and some respond to nothing but low end. They all serve a purpose and have their place in recording and live work. But if you've ever heard something brilliant — an unbelievable electric guitar, an inspiring trumpet, a sweet flute, an amazing kit — and found that getting that sound to tape or hard drive was impossible, you owe it to yourself to try a Royer ribbon. The R-121's response is flat and well balanced; low end is deep and full without being boomy; mids are well defined and realistic; and the high-end response is sweet and natural sounding, never edgy or sibilant.On playback you'll find the sound is natural and alive, with a panoramic, ambient feel much like what you heard when you were standing in the room with the instruments(s) you were recording.Recording LOUD! Need to record at insane levels? No problem! The R-121's maximum SPL rating is 135dB at 20Hz and it can handle that for years. In practical terms, that means you can put y...details

Royer R-122 Active Ribbon Microphone Nickel
The Royer R-122 is the world's first phantom powered, active ribbon microphone. Yes, you need to turn phantom power on when you use an R-122! The payback is far more output than you've ever imagined from a ribbon microphone. More importantly, the R-122's electronics place a perfect impedance load on the ribbon element, greatly expanding the number of preamps that will match up well with the R-122. Before the R-122, all ribbon microphones were passive devices, meaning that they were 15 to 30dB less sensitive than average phantom-powered condenser mics. In addition, passive ribbon mics depend entirely on the input impedance of the preamp they're mated with to set the proper impedance to the ribbon element. Simply put, even the best ribbon mics can sound mediocre if they're plugged into the wrong mic pre. With the Royer R-122 ribbon mic, gain and impedance issues are a thing of the past. Gain Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources like acoustic instruments, vocals and room ambience. The R-122 is as sensitive as a condenser microphone, allowing you to use practically any mic preamplifier or board record even the quietest sounds. The R-122 contains a fully balanced, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra low-noise FET's. This system is extremely quiet, can handle 135dB SPL, and brings the R-122's output to —38dB! Go ahead and plug an R-122 into any preamplifier with average gain — you'll get full Royer performance and you'll have enough level to drive any recording medium.The Royer R-122's higher sensitivity does not create additional self-noise. All of the R-122 mic's increased level comes from its large, specially wound toroidal transformer — that wonderful thing called "free gain." The level at the transformer is actually hotter than the level at the output of the microphone. The phantom-powered circuitry provides impedance conversion only, adding no noise of its own. This system took years to perfect and is currently in patent-pending status. Impedance Matching The R-122's active electronics provide a perfect load to the ribbon element at all times, allowing the R-122 to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic pre. Due to its low-impedance output, R-122 microphones can be used on extremely long cable runs with minimal signal loss.A good impedance match is critical to getting the most from a ribbon microphone. An impedance mismatch will load the ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and overall compromised performance. The R-122's ribbon element lives in a perfect world - it sees the optimal impedance at all times regardless of the following equipment, so its performance is never compromised by the effects of improper loading. In addit...details

Royer R-122V Tube Ribbon Microphone Nickel
The R-122V Tube Ribbon Mics takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum-tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides a headroom capability far beyond that capable from a standard phantom power supply. In real-world use, this translates into unmatched clarity, detail and airiness.The Electronics The Royer R-122V's head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V microphone offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.The R-122V's triode-configured cathode-follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V mic's dedicated power supply that provides ample current to the vacuum-tube electronics. Induced noise is virtually eliminated by the microphone's fully balanced output that is electrically isolated with a special-purpose Jensen output transformer.Like Royer's phantom-powered R-122 (#581143), the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches; two critical issues with ribbon microphones. All of the R122V's increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone's higher output.Like all Royer products, the R-122V mic comes with a lifetime warranty to the original owner (the tube warranty is 10 years)....details

Royer SF-12 Stereo Ribbon Microphone Black Chrome
The SF-12 stereo coincident ribbon microphone from Royer 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 Royer 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 ribbon mic's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled "Upper" and "Lower," for the upper and lower capsules of the microphone (when held vertically).Recording with the SF-12 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 careful 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 mic in that place and you will capture that sound.The Royer SF-12 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you'd like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self-distortion. When you boost a frequency, even by many dB, you'll bring up only the musical response you're looking for without unpleasant distortion artifacts joining the party.Recording in Mono Phase compatibility between the two sides of the SF-12 ribbon mic is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the sweet spot of a mono microphone. Either side of the Royer SF-12 can also be used individually as a mono microphone.What the pros are saying about the SF-12: "The SF-12 as a drum overhead mic gives me something I've never been able to get before. God, I love this mic!" Chuck Ainlay (Vince Gill, George Strait, Reba McEntire, M...details

Royer SF-24 Active Stereo Ribbon Mic Black Chrome
The Royer SF-24 stereo ribbon microphone is a phantom powered version of Royer's popular SF-12 (#581146) stereo ribbon microphone. It combines the SF-12's high quality audio performance, outstanding stereo separation and imaging with Royer exclusive active electronics system for ribbon microphones. The SF-24's output of -38dB is a full 14dB more sensitive than Royer's non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET's used in the SF-24 mic allow for ultra-quiet operation, with self-noise of lower than 18 dB.The SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.The Royer SF-24's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled "Upper" and "Lower" for the upper and lower capsules of the microphone (when held vertically). Gain Royer active ribbon mics are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing specially wound toroidal transformers and ultra-low noise FET's, each delivering a sensitivity of —38dB. This lets you mate an SF-24 microphone to any preamplifier with average gain characteristics. Even with quiet sound sources, you'll have enough level to drive any recording medium.It is important to note that the SF-24's higher sensitivity does not create additional self-noise. All of the SF-24's increased level comes from its large, specially wound toroidal transformers - that wonderful thing called "free gain." The level at the each of the transformers is actually hotter than what comes out of the microphone. The phantom powered system operates at less than unity, adding no noise of its own. This system took years to develop and is in patent pending status. Impedance Matching The electronics in the Royer SF-24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic pre. Due to its low-impedance output, SF-24's can also be used on extremely long cable runs with min...details

Royer SF-24 LIVE Active Ribbon Mic Black Chrome
Royer microphones are built to be tough and can handle the challenges of life on the road, but they are studio mics that require some TLC to keep from damaging the ribbon elements. With the Royer SF-24 ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to place it anywhere on stage you'd like with complete confidence. Tame high-end harshness and bring Royer's legendary smoothness, warmth and power to your live performances.How After extensive testing, Royer found new ribbon thickness for the SF-24 Live microphone that allowed them to significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.A Figure-8 Microphone on Stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics—not just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.Rejection Royer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer SF-24 mic will sound natural, not harsh or coloredAbout Royer Live Series mics: Royer Live Series mics (R-121L, R-122L, SF-24L) were introduced in 2008, making ribbon mics available to FOH engineers for the first time. As a group they won the 2008 TEC Award for Microphone Technology/Sound Reinforcement, and they're showing up in performance venues around the world.Royer Live Series mics use thicker ribbon elements - carefully chosen for increased durability and minimal sonic variation from their studio brethren. The thicker ribbons have a slightly slower transient response, resulting in softer highs.Live Series mics are identified by their red logos (studio models have green logos). Live models can be converted to a Studio model any time - Royer simply re-ribbons the mic to studio spec and replaces the red logo with a green logo.Like any high-end microphone, Royer Live Series mics need to be handled carefully during setup and tear-down. Proper handling and storage in a dedicated microphone container will assure years of reliable service.Royer Live Series on the road with:Keith Urban - SF-24L drum overhea...details

Royer RSM-1 Professional Shock Mount Black
The Royer RSM-1 was designed for maximum shock protection, durability, ease of use and versatility. Not to mention that it's got a Royer logo and looks sharp. It's made of high-tech materials that will hold up for many years, and it doesn't use elastic bands that can stretch out over time.All good studio microphones should be placed in shock mounts for recording. Microphone shock mounts keep vibrations from making their way up the mic stand, transferring into the microphone and showing up on your tracks as unwelcome noise. Sometimes vibration-related noise that's unnoticeable while you're tracking shows up when you master, then suddenly it's "What's up with the thumps and noise in the bottom end?" Oops - should've used a shock mount!The RSM-1's ability to angle your Royer will protect the ribbon from stretching when miking very high-SPL sources, such as kick drums and guitar amps.Specifically designed to support Royer R-121, R-122, SF-12 and SF-1 microphones....details

Royer PS-101 Metal Pop Filter Black
Finally, Royer gives you a pop filter that doesn't filter your sound along with the pops. Look through a Royer PS-101 pop filter and you will see the mic clearly. The secret is the special louvered metal that deflects wind downwards while letting sound go directly through. The PS-101 microphone pop filter will last for many years (try that with your nylon), it can be cleaned with soap and water, and looks good too....details

Royer R-122 Matched Pair Nickel
The R-122 is the world's first phantom powered, active ribbon microphone. This matched R-122 pair will produce recordings of unsurpassed stereo imaging. Yes, you need to turn phantom power on when you use an R-122! The payback is far more output than you've ever imagined from a ribbon microphone. More importantly, the R-122's electronics place a perfect impedance load on the ribbon element, greatly expanding the number of preamps that will match up well with the R-122. Before the R-122, all ribbon microphones were passive devices, meaning that they were 15 to 30 dB less sensitive than average phantom powered condenser mics. In addition, passive ribbon mics depend entirely on the input impedance of the preamp they're mated with to set the proper impedance to the ribbon element. Simply put, even the best ribbon mics can sound mediocre if they're plugged into the wrong mic pre. With the R-122, gain and impedance issues are a thing of the past. Gain Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources like acoustic instruments, vocals and room ambience. The R-122 is as sensitive as a condenser microphone, allowing you to use practically any mic preamplifier or board record even the quietest sounds. The R-122 contains a fully balanced, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET's. This system is extremely quiet, can handle 135 dB SPL, and brings the R-122's output to —38 dB! Go ahead and plug an R-122 into any preamplifier with average gain - you'll get full Royer performance and you'll have enough level to drive any recording medium.The R-122's higher sensitivity does not create additional self-noise. All of the R-122's increased level comes from its large, specially wound toroidal transformer - that wonderful thing called "free gain." The level at the transformer is actually hotter than the level at the output of the microphone. The phantom powered circuitry provides impedance conversion only, adding no noise of its own. This system took years to perfect and is currently in patent pending status. Impedance Matching The R-122's active electronics provide a perfect load to the ribbon element at all times, allowing the R-122 to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, R-122s can be used on extremely long cable runs with minimal signal loss.A good impedance match is critical to getting the most from a ribbon microphone. An impedance mis-match will load the ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and overall compromised performance. The R-122's ribbon element lives in a perfect world - it sees the optimal impedance at all times regardless of the following equipment, so its performance is never compromised by the effects of...details

Royer R-122V Matched Ribbon Microphone Pair Nickel
The Matched R-122V Tube Ribbon Microphone Pair from Royer offers unsurpassed warm, realistic stereo imaging. The R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides a headroom capability far beyond that capable from a standard phantom power supply. In real-world use, this translates into unmatched clarity, detail and airiness.The Electronics The R-122V's head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the Royer R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.The R-122V's triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V ribbon mic's dedicated power supply that provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone's fully balanced output that is electrically isolated with a special purpose Jensen output transformer.Like our phantom powered R-122, the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. All of the Royer R-122V's increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone's higher output.Like all Royer products, the R-122V ribbon microphone comes with a lifetime warranty to the original owner (the tube warranty is 10 years)....details

Royer R-121 LIVE Matched Ribbon Microphone Pair Nickel
With the Royer R-121 ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to use it anywhere on stage you'd like with complete confidence. This matched pair of R-121 Live microphones lets you get studio quality sound at any venue.How After extensive testing, Royer found new ribbon thicknesses for the R-121 microphone that allowed a significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.Royer Live Series microphones are identified with a red Royer logo (studio models have green or black logos). Live Series mics can be converted to Studio mics with a simple re-ribbon and logo replacement. There is no cost difference between our standard Studio mics and Live Series micsA figure-8 microphone on stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics—not just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.Rejection The Royer R-121 ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point: Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121 ribbon mic's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring mics!Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer R-121 mics will sound natural, not harsh or colored....details

Royer R-122 LIVE Matched Ribbon Microphone Pair Nickel
The Royer R-122 Matched Ribbon Microphone pair from the LIVE series was made for live performances offering both reliability and unsurpassed stereo imaging. With the Royer R-122 ribbon mics you get twice the durability in the ribbon element, allowing you to use it anywhere on stage you'd like with complete confidence.Royers are built to be tough and can handle the challenges of life on the road, but they are studio mics that require some TLC to keep from damaging the ribbon elements. With Royer Live Series ribbon microphones you get twice the durability in the ribbon element, allowing you to put ribbons anywhere on stage you'd like with complete confidence. Tame high-end harshness and bring Royer's legendary smoothness, warmth and power to your live performances.How After extensive testing, Royer found new ribbon thicknesses for the R-121, R-122 and SF-24 microphones that allowed us to significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.Royer Live Series microphones are identified with a red Royer logo (studio models have green or black logos). Live Series mics can be converted to Studio mics with a simple re-ribbon and logo replacement. There is no cost difference between Royer standard Studio mics and Live Series micsA Figure-8 Microphone on Stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics - not just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.Rejection Royer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer R-122 mics will sound natural, not harsh or colored....details

Royer R-121 Matched Ribbon Microphone Pair Nickel
The R-121 is Royer's flagship microphone and the worlds first radically redesigned ribbon microphone. The R-121 gives all of the warm, natural tonal response for which top engineers have always loved ribbon mics, but in a compact, lightweight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the Royer R-121.Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But that's where the similarities end. By using advanced materials and a blend of cutting edge and old-school hand-build construction techniques, the R-121 is a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. It's built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "...the Royer R-121 is destined to become one of the classic microphones of the 21st century". Patented Offset Ribbon Technology The R-121 microphone's proprietary offset ribbon transducer (Patent Number: 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones.Recording With The R-121 Tonally, an Royer R-121 hears things the way your ears hear them. Most microphones add their own characteristics to your recordings; some have a hyped high and low end response with scooped out mids, some are super sizzly in the highs, some accent midrange and give very little upper and lower end frequency response, some respond to nothing but low end. They all serve a purpose and have their place in recording and live work. But if you've ever heard something brilliant - an unbelievable electric guitar, an inspiring trumpet, a sweet flute, an amazing kit - and found that getting that sound to tape or hard drive was impossible, you owe it to yourself to try a Royer ribbon. The R-121 mic's response is flat and well balanced; low end is deep and full without being boomy, mids are well defined and realistic, and the high end response is sweet and natural sounding, never edgy or sibilant. On playback you'll find the sound is natural and alive, with a panoramic, ambient feel much like what you heard when you were standing in the room with the instruments(s) you were recording.Recording LOUD! Need to record at insane levels? No problem! The R-121's maximum SPL rating is 135dB at 20 Hz and it can handle that for years. In practical terms, that means you can put your R-121 ribbon mic directly in front of a souped up 100-watt Marshall and open it up without microphone distortion or damage to the ribbon. Royer doesn't...details

Royer R-101 Ribbon Mic Black
The R-101 is a mono, passive ribbon microphone utilizing a patented offset-ribbon transducer and a 2.5-micron ribbon element. The R-101 is hand-built in Royer's Burbank, CA facility and delivered at a price point suitable for home studio use and live applications. The R-101 is a new breed of modern ribbon microphone, designed for studio work and demanding live applications (particularly live electric guitar and brass). It incorporates many features pioneered by Royer Labs, including an advanced multi-layered wind screen for superior protection from air blasts and plosives, a patented offset-ribbon transducer, and an internally shock mounted ribbon transducer system which provides greater isolation from shocks and vibrations, and reduced proximity effect for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile. The ribbon element's smooth frequency response and phase linearity impart a warm, analog feel to digital recordings, where the depth and realism on playback feels more like tape rolling than digits being computed. A perfect choice for electric guitars, brass instruments and drums, the R-101's figure-8 pattern also conveys superb ambience and depth when used for room miking applications. Patented Offset Ribbon Technology The R-101 incorporates Royer's patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer's flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation. The R-101's offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It's an integral part of the magic in all Royer R-series microphones. The offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the backside (3 feet and closer; phase reversed in this position). The backside of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.Like all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free....details

Royer R-101 Ribbon Mic Matched Pair Black
The R-101 is a mono, passive ribbon microphone utilizing a patented offset-ribbon transducer and a 2.5-micron ribbon element. The R-101 is hand-built in Royer's Burbank, CA facility and delivered at a price point suitable for home studio use and live applications. The R-101 is a new breed of modern ribbon microphone, designed for studio work and demanding live applications (particularly live electric guitar and brass). It incorporates many features pioneered by Royer Labs, including an advanced multi-layered wind screen for superior protection from air blasts and plosives, a patented offset-ribbon transducer, and an internally shock mounted ribbon transducer system which provides greater isolation from shocks and vibrations, and reduced proximity effect for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile. The ribbon element's smooth frequency response and phase linearity impart a warm, analog feel to digital recordings, where the depth and realism on playback feels more like tape rolling than digits being computed. A perfect choice for electric guitars, brass instruments and drums, the R-101's figure-8 pattern also conveys superb ambience and depth when used for room miking applications. Patented Offset Ribbon Technology The R-101 incorporates Royer's patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer's flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation. The R-101's offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It's an integral part of the magic in all Royer R-series microphones. The offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the backside (3 feet and closer; phase reversed in this position). The backside of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.Like all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free....details