R-10

The R-10’s 2.5-micron aluminum ribbon element (the same as in the legendary R-121) is formed with our patented direct-corrugation process, and is extremely well protected by a 3-layer windscreen system and an internally shock-mounted ribbon transducer. The built-in windscreen provides superior protection from air blasts and plosives, while also reducing proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be more easily close-miked. The internally shock-mounted ribbon transducer isolates the ribbon element from unwanted vibrations, decreasing rumble and increasing the ribbon element’s durability. The transducer is even wired for humbucking to better reject electromagnetically induced noise.

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.

A ribbon for everything

Royer ribbons are an industry staple on electric guitar. The R-10 shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth, highs and punch that guitarists and engineers expect from a Royer.

The R-10 is outstanding on brass. Close-miked trumpets, trombones and other brass instruments are no problem: the R-10 captures them the way they’re supposed to sound, toneful and powerful and as bright as the instrument is played, but with none of the sizzle and harshness many microphones tend to generate on brass.

On keyboards, the full-spectrum performance of an R-10 (or two) inside an acoustic piano is jaw dropping, and Hammond enthusiasts can expect phenomenal results by positioning an R-10 (or two) next to a Leslie cabinet, or paired with their instrument amplification system of choice.

The R-10 is extremely well suited for vocals, from singing to the spoken word. Its reduced proximity effect and protective wind filter, combined with its classic natural tone and ribbon warmth, allow the R-10 to capture a wide range of vocal performances beautifully. Ribbon mics take EQ extremely well, so boosting highs and utilizing creative positioning opens up all kinds of new possibilities.

Drums record full-bodied, with realistic (never over-hyped) transient response, and the R-10’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 in front of the kit sounds huge and punchy.

R-10 recordings of violins, cellos, steel-stringed and nylon-stringed acoustic guitars, ukuleles, banjos and other stringed instruments are open and realistic, fitting into just about any mix smoothly. The R-10 is truly an excellent tool for recording almost any sound source you can think of.

Royer’s patented offset ribbon technology onboard

The R-10’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 like acoustic guitar, ukulele and vocals on the back side (3 feet or closer; phase reversed position).

Available in matched pairs

The R-10 is available as a matched pair. Matched pairs of Royer mics are consecutively serial numbered and shipped together as a perfect match. Use a pair for stereo recording: drum overheads, acoustic piano and room miking.