The R-122 was the world’s first phantom-powered ribbon mic, delivering all of the warm, smooth performance of a world-class ribbon mic at a previously impossible sensitivity level. Its 2002 debut was explosive and the R-122 became our most popular mic behind the flagship R-121. In 2015 Royer updated the R-122 MKll with a high-pass filter and 15dB pad, making it the company’s single most versatile ribbon microphone. The R-122 MKll 25th Anniversary model celebrates the R-122’s legacy with a limited edition run of eighty R-122s crafted in Royer’s custom “Distressed Rose” finish. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and on stage to a rich rose color in brighter light. The 25th Anniversary R-122 MKll is 100% original except for this once-in-a-lifetime 25th Anniversary finish. The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. The R-122 MKll is recommended for drum overheads and rooms, electric and acoustic guitars, brass, piano, violin, cello, ukulele, and any other acoustic stringed instrument, percussion, vocals, and countless other applications. When less low-end or proximity effect is desired, the high pass switch is perfectly balanced, set at 100 Hz and rolling off 6dB per octave. On high SPL applications like electric guitars and brass, the 15dB pad lowers the R-122 MKll output to R-121 level, helping you maintain a clean signal path with no unwanted distortion. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The R-122 was the world’s first phantom-powered ribbon mic, delivering all of the warm, smooth performance of a world-class ribbon mic at a previously impossible sensitivity level. Its 2002 debut was explosive and the R-122 became our most popular mic behind the flagship R-121. In 2016 Royer updated the R-122 MKll with a high-pass filter and 15dB pad, making it the company’s single most versatile ribbon microphone. The R-122 MKll 25th Anniversary model celebrates the R-122’s legacy with a limited edition run of eighty R-122s crafted in Royer’s custom “Distressed Rose” finish. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and on stage to a rich rose color in brighter light. The 25th Anniversary R-122 MKll is 100% original except for this once-in-a-lifetime 25th Anniversary finish. The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. The R-122 MKll is recommended for drum overheads and rooms, electric and acoustic guitars, brass, piano, violin, cello, ukulele, and any other acoustic stringed instrument, percussion, vocals, and countless other applications. When less low-end or proximity effect is desired, the high pass switch is perfectly balanced, set at 100 Hz and rolling off 6dB per octave. On high SPL applications like electric guitars and brass, the 15dB pad lowers the R-122 MKll output to R-121 level, helping you maintain a clean signal path with no unwanted distortion. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The FlexBar is a universal microphone holder designed to hold two microphones on a single microphone stand, with additional flexibility far beyond traditional stereo bar capabilities. Constructed from aircraft-grade aluminum, the FlexBar is light and handles most microphone types. The finish is matte-black. Unlike traditional single-plain stereo bars, the FlexBar’s two movable bracket arms provide a wide range of mic placement options, from the traditional Blumlein and spaced pair positions to however creative the user wants to be. Each bracket has engraved gradient markers in centimeters, for precise repeatable distancing of the microphones. The FlexBar allows for traditional stereo bar positioning like Blumlein, ORTF and Spaced Pair (AB) and many other 2-microphone configurations. For example, it can be used to mic the top and bottom of a snare drum, utilizing a single stand in a typically tight area and for a singer/songwriter, the FlexBar can be configured to mic an acoustic guitar, ukulele or any other instrument with one microphone, and capture the vocal with another microphone. The FlexBar was designed in conjunction with Triad-Orbit and accepts all Triad-Orbit accessory items. For easy fine adjustments of the entire FlexBar unit, the Triad-Orbit ball-swivel adaptor added between the base of the FlexBar and a microphone stand works nicely.

The R-121 25th Anniversary model celebrates the R-121’s legacy with a unique, limited edition. The R-121 Distressed Rose offers all the characteristics and performance of the classic R-121, but adds a this stunning finish that R-121 fans and collectors will find as unique and cool as they come. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and onstage to a rich rose color in brighter light. There will be 500 R-121 Distressed Roses made, no more. Released in 1998, the R-121 was the first radically different modern ribbon microphone, singlehandedly creating the great ribbon microphone resurgence that is still growing and going strong today. The R-121 is a staple on electric guitars around the world and is also one of the finest brass mics available, along with drum rooms, kick drums, piano, snare drum, acoustic guitar, violin, all percussion, harp, cello… the list goes on and on. To record an instrument as naturally as possible an R-121 is the perfect solution. The R-121 Distressed Rose is one of the coolest looking and best sounding mics, both for daily use, so as a collector's item.

The R-121 25th Anniversary model celebrates the R-121’s legacy with a unique, limited edition. The R-121 Distressed Rose offers all the characteristics and performance of the classic R-121, but adds a this stunning finish that R-121 fans and collectors will find as unique and cool as they come. Depending on the lightning, the special Distressed Rose finish gives a variety of looks, from a dark bourbon color in lower studio lighting and onstage to a rich rose color in brighter light. There will be 500 R-121 Distressed Roses made, no more. Released in 1998, the R-121 was the first radically different modern ribbon microphone, singlehandedly creating the great ribbon microphone resurgence that is still growing and going strong today. The R-121 is a staple on electric guitars around the world and is also one of the finest brass mics available, along with drum rooms, kick drums, piano, snare drum, acoustic guitar, violin, all percussion, harp, cello… the list goes on and on. To record an instrument as naturally as possible an R-121 is the perfect solution. The R-121 Distressed Rose is one of the coolest looking and best sounding mics, both for daily use, so as a collector's item.

The R-10 “Hot Rod” 25th Anniversary limited-edition ribbon mic is our popular R-10 on steroids! The R-10 Hot Rod is fitted with a custom Anniversary Edition transformer that gives this microphone 5dB more output than the standard R-10, with a punchier feel and increased low-midrange focus. The R-10 Hot Rod also sports a 25th Anniversary black-accented trim package that looks as cool as this mic sounds. Like our original R-10, the R-10 Hot Rod handles extremely high SPLs (160dB @ 1kHz), has an internally shock-mounted ribbon transducer & 3-layer wind screen system that combine to give the ribbon element excellent protection, features lowered proximity effect that make it an excellent for close miking instruments and singers, and carries a 5-year warranty with the first re-ribbon free. Like all Royer microphones, the R-10 Hot Rod is hand-built in Royer’s Burbank, CA facility. The R-10 Hot Rod’s compact size and mounting system allow for flexible, unobtrusive positioning. Its 2.5-micron aluminum ribbon element is formed with our patented direct-corrugation process and the ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10 Hot Rod’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 Hot Rod’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. 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. 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. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 Hot Rod shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 Hot Rod takes EQ beautifully. Drums are full-bodied with realistic (not over-hyped) transients response, and the R-10 Hot Rod’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 Hot Rod in front of the kit sounds huge and punchy. R-10 Hot Rod recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos, and other stringed instruments are warm and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record warm and naturally on an R-10 Hot Rod, and the EQ-friendliness of the mic allows for dialing in completely different sounds with liberal use of EQ. Patented Offset Ribbon Technology The R-10 Hot Rod’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the backside.

The R-10 “Hot Rod” 25th Anniversary limited-edition ribbon mic is our popular R-10 on steroids! The R-10 Hot Rod is fitted with a custom Anniversary Edition transformer that gives this microphone 5dB more output than the standard R-10, with a punchier feel and increased low-midrange focus. The R-10 Hot Rod also sports a 25th Anniversary black-accented trim package that looks as cool as this mic sounds. Like our original R-10, the R-10 Hot Rod handles extremely high SPLs (160dB @ 1kHz), has an internally shock-mounted ribbon transducer & 3-layer wind screen system that combine to give the ribbon element excellent protection, features lowered proximity effect that make it an excellent for close miking instruments and singers, and carries a 5-year warranty with the first re-ribbon free. Like all Royer microphones, the R-10 Hot Rod is hand-built in Royer’s Burbank, CA facility. The R-10 Hot Rod’s compact size and mounting system allow for flexible, unobtrusive positioning. Its 2.5-micron aluminum ribbon element is formed with our patented direct-corrugation process and the ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10 Hot Rod’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 Hot Rod’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. 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. 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. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 Hot Rod shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 Hot Rod takes EQ beautifully. Drums are full-bodied with realistic (not over-hyped) transients response, and the R-10 Hot Rod’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 Hot Rod in front of the kit sounds huge and punchy. R-10 Hot Rod recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos, and other stringed instruments are warm and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record warm and naturally on an R-10 Hot Rod, and the EQ-friendliness of the mic allows for dialing in completely different sounds with liberal use of EQ. Patented Offset Ribbon Technology The R-10 Hot Rod’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the backside.

The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.

Blending an R-121 ribbon with a dynamic mic is a legendary method for capturing electric guitars. The AxeMount microphone clip positions an R-121 right next to a 57-style dynamic mic, phase-aligned and ready to record, for the ultimate electric guitar microphone package. Making small position adjustments on a speaker or switching both mics to another cabinet is as easy as moving only one mic stand. The natural, full bodied sound of the R-121, blended to taste with the fist-forward pointedness of a 57-styled dynamic microphone, allows for phenomenal tailoring of recorded and live guitar tones. In the past, that required using two mic stands, two clips, and patience to get the mics lined up properly and in-phase with each other. The AxeMount does away with all that and makes this classic method easy to achieve. The AxeMount is built tough and comes with a lifetime warranty.

The SF-24V vacuum tube stereo ribbon microphone is the pinnacle of our SF-series stereo microphones. The sound pickup is lush, smooth and natural, with outstanding stereo imaging and superb transient response. The tube electronics provide increased midrange reach, unmatched clarity and detail, and an airiness previously unheard of in ribbon mics. Utilizing the same proprietary tube electronics as in our TEC Award winning R-122V ribbon microphones, the SF-24V delivers the ultimate in stereo ribbon miking for the true connoisseur of recorded sound. The SF-24V's independent tube circuits provide an output level of -38 dB, suitable for use with any professional preamplifier. With self-noise of lower than 18 dB, the SF-24V's ultra-quiet operation is suitable for the most demanding classical and acoustic recording applications. Like an SF-12, the SF-24V 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 SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.

The SF-24 stereo ribbon microphone is a phantom powered version of our popular SF-12 stereo ribbon microphone. It combines the SF-12's high quality audio performance, outstanding stereo separation and imaging with our exclusive active electronics system for ribbon microphones. The SF-24's output of -38 dB is a full 14 dB more sensitive than our 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 allow for ultra-quiet operation, with self-noise of lower than 18 dB. Like an SF-12, 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 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).

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 labeled Upper and Lower, for the upper and lower capsules of the microphone (when held vertically).

The R-122V is the pinnacle of our R-Series line, a world class tube ribbon microphone exhibiting unparalleled richness, depth and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best. 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 headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail and airiness, along with the ability to handle brute SPL levels without flinching.

The R-122 MKII Live is a road-optimized version of our phantom powered R-122 MKII ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKIIL utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKIIL, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The Royer model R-DB20 is a phantom-powered ribbon and dynamic microphone signal booster and impedance buffer. It increases the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, the dBooster provides two levels of clean gain boost; 12dB and 20dB, selectable by a front panel switch. The dBooster maintains headroom and gain regardless of load. The Class A input circuitry presents a high source impedance to the microphone, which minimizes loading (damping). This reduces coloration and distortion while at the same time improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses. The low-impedance output of the dBooster is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs.

The Royer model R-DB22 dBooster2 features two channels of dBooster ribbon & dynamic microphone signal boosting and impedance buffering technology. Each channel also doubles as a high-impedance DI. When used as a signal booster, both channels of the dBooster2 increase the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, each dBooster2 channel offers two levels of clean gain boost: 12dB or 20dB, selectable by a front panel switch. The dBooster2’s Class A input presents a high source impedance to microphones, minimizing loading (damping) and improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses. The dBooster2’s low-impedance output is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs. When used as a DI for unbalanced guitar level sources, the dBooster2 provides either 0dB or 8dB of gain, selectable from the front panel switch. The single ended high-impedance (230K-Ohm) DI input maintains headroom and gain regardless of load, with minimal distortion or coloration.

The R-122 MKII Live is a road-optimized version of our phantom powered R-122 MKII ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKIIL utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKIIL, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

Released in 1998, the award-winning R-121 is our flagship microphone; the world's first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We 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 warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, 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 an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe. We build the R-121 solid enough to give it a lifetime warranty. We expect you to own it for as long as you record, and we'll stand behind it the whole way.

The R-121 Live is a ruggedized version of our popular R-121 ribbon microphone. The studio R-121 is tough and has been used on the road for years, but the increased durability of the R-121 Live gives FOH engineers greater confidence in the ribbon standing up to the rigors of the road. The R-121 Live's output level is comparable to a dynamic mic, and it delivers the warm, realistic tone that only a ribbon mic can. Along with its smooth, natural response, the R-121 Live virtually eliminates the shrill high-end often associated with live guitars and brass. Push up the faders and there's the instrument in all its fullness and natural glory, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting. The R-121 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5 microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-121 Live's exceptionally smooth high frequency response, it needs far less eq'ing than is usually required with condenser and dynamic microphones.

The R-122V is the pinnacle of our R-Series line, a world class tube ribbon microphone exhibiting unparalleled richness, depth and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best. 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 headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail and airiness, along with the ability to handle brute SPL levels without flinching.

The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The Royer R-10 is a passive mono ribbon microphone designed for critical studio and live performance applications. Its compact size and mounting configuration allows for flexible placement with minimum intrusion. The R-10 exhibits a flat frequency response and a well-balanced soundfield, while at the same time handling sound pressure levels of up to 160 dB @ 1 kHz. The R-10 incorporates advancements pioneered by Royer Labs, including a multi-layered wind screen and an internally shockmounted ribbon transducer. The layered wind screen provides superior protection from air blasts and plosives, and also reduces proximity effect so guitar cabinets and acoustic instruments can be close miked with less bass build-up. The R-10’s internally shockmounted ribbon transducer assembly isolates the ribbon element from shocks and vibrations and increases ribbon durability. The R-10 is a perfect choice for electric guitars, brass instruments and drums, and its figure-8 pattern conveys superb ambience and depth when used for room miking applications. The R-10’s smooth frequency response, phase linearity and lack of self-distortion make it ideal for digital recording. The R-10 incorporates Royer’s patented offset-ribbon technology and low mass, 2.5-micron (99.9% pure) aluminum ribbon element. A custom designed impedance-matching transformer minimizes saturation and the open grill configuration minimizes standing waves and associated comb-filtering effects. The transducer’s flux-frame design and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation. The R-10’s patented offset-ribbon design positions the ribbon element towards the front of the transducer, which allows for the higher SPL handling of the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the back side (3 feet or closer; phase reversed position).