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Ribbon microphones do what no other type of mic can, and Royers do what no other ribbon mics can. With their mellow but musically flattering high-end response, extraordinary sound pressure tolerance, and impressive durability, Royer Labs ribbon mics can handle pretty much anything you throw at them.
Royer is probably best known for the R-121, the mic that modernized the classic ribbon design and became a must-have item in mic lockers around the world. First released in 1998, the Royer R-121 improved on the classic vintage ribbon mics with higher SPL handling and output level, premium electronic components, and highly durable construction. As a result, this now-legendary ribbon mic quickly established itself as the go-to option for recording bright guitar amps, high-volume horns, aggressive drums, detailed acoustic instruments, and silky vocals.
Not everyone can afford a top-shelf mic like the R-121, and that’s exactly why Royer Labs introduced the R-10. The Royer R-10 is an extremely versatile and solidly-built microphone featuring the same high-SPL ribbon element as the R-121, a newly designed internal shockmount, integrated three-layer windscreen, and custom transformer designed by David Royer to minimize saturation at extremely high sound pressure levels.
The offset ribbon tolerates higher SPL on the front side and provides a slightly brighter sound on the rear, a nice touch that makes it even more flexible. And at a very reasonable price point of $599, you can pick up a pair of R-10s (plus a few accessories) for less than a single R-121. If you need any more convincing, just check out our Royer mic shootout for a head-to-head comparison.
From taming loud sources like amps, drums, and horns to softening the edges of delicate vocals and acoustic instruments, this versatile workhorse mic can work wonders on almost any source. Whether you use it on its own, in stereo, or pair it with another complementary mic, you’ll never be disappointed. Here are some of our favorite ways to use the R-10.
Acoustic instruments are designed to project a balanced sound without amplification, but when it comes to recording them, some of that tone can get lost in translation. Guitars can sound boomy and violins can sound thin and squeaky, but a properly positioned ribbon mic can solve this age-old problem with little to no EQ needed
Acoustic Guitars
To get a great balance of fullness and detail, simply place a ribbon mic like the Royer R-10 about 6-12 inches from where the neck meets the body. This placement does a great job of capturing the resonance of the strings and soundboard while avoiding moving air from the soundhole and minimizing high-end string buzz and fret noise. To emphasize pick attack, you can angle the mic toward your picking hand or align it with the bridge instead. For stereo guitars, set up two R-10s in a Blumlein configuration (placed end-to-end with their polar patterns intersecting in an “X” shape).
Bowed Strings
The violin, viola, cello, and upright bass all produce significant overtones that sound great acoustically but can become shrill when recorded with a condenser mic. Ribbon mics like the R-10 soften those upper harmonics in a musical way, mellowing out the high-end for a balanced tone. For violin and viola, position your mic anywhere from 8-16 inches off the bowing side (usually the right), level with the floor or angled down at the soundboard. Cello and double bass can be miked in front of the bowing area for maximum articulation, pointed at the soundboard for a more “woody” sound, or higher up on the fingerboard for snappy pizzicato and jazz playing.
Ribbon mics are a natural choice for brass and woodwind instruments, especially those with lots of overtones like trumpets and saxophones. The Royer R-10 handles the high volumes of these instruments with ease, softening the most piercing and abrasive overtones without losing any detail or nuance during softer passages.
Horns
Trumpets, trombones, and French horns are all great candidates for ribbon miking. These instruments don’t always translate well when recorded with condenser or dynamic mics, but ribbons like the R-10 are a perfect fit. In most cases, you’ll want to place your ribbon mic off-axis from the bell of the instrument to avoid the direct blast of air. Depending on the amount of high frequencies you want to capture, you can adjust the angle between 10 and 45 degrees. Because horns are so loud, you’ll probably want to start with at least a foot of distance and adjust from there.
Woodwinds
Saxophones, clarinets, oboes, flutes, and bassoons all generate different mixtures of overtones, ranging from the soft and pure to the sharp and piercing. Most dynamic mics aren’t sensitive enough for woodwinds, and condensers often overcompensate, but ribbons offer the perfect balance. For overtone-rich reed instruments like saxes and oboes, start with your mic perpendicular to the bell, about a foot away. Depending on the style of playing, you may want to move the mic closer or angle it toward the bell for a brighter tone. Flutes can be miked near the embouchure (where the player blows across), but be sure to avoid the fast-moving air, which can create sibilance.
The sound of a guitar cabinet can change drastically depending on where you place your mic. The high-end is most intense directly in front of the speaker cone, but this can be mitigated by angling the mic toward the edge of the cone or shifting it off-axis from the center. But what if you want a sound that cuts through the mix without shredding your ears? That’s where ribbons come in handy.
Clean Guitars
For clean guitar tones, a ribbon mic a few inches in front of the speaker grille often provides the perfect sound without much hassle. The center of the cone will give you the brightest sound and sharpest transients for lead playing, while moving out toward the edge provides a “rounder” tone that’s great for rhythm parts. You can even flip the R-10 around for a bit of extra treble response. And of course, you can always back the mic away to capture more of the natural room reverb.
Distorted Guitars
When recording distorted guitars, ribbon mics make a great compliment to brighter condensers or mid-focused dynamic mics—as long as you keep the mics close to prevent phase cancellation between tracks. Blending two different-sounding mics is a time-tested method for crafting great guitar tones, and you can even switch between the tracks for different verse and chorus tones.
As any seasoned audio engineer knows, there are infinite ways to mic a drum kit. The kit, the player, the room, and the song can all influence your mic choice and placement, and it’s not uncommon to mix ribbons with dynamic and condenser mics in a drum session. Additionally, ribbon mics like the R-10 are perfect for tracking percussion instruments like hand drums, tambourines, and shakers.
Drum Kits
When it comes to drums, ribbons are most often used as overhead mics because their high-end roll-off prevents bright cymbals from dominating the mix. Plus, their natural bidirectional polar pattern means less bleed in a stereo pair, so you can use them in a spaced pair or Blumlein configuration with great stereo separation. Ribbons also make great room mics, whether you use a pair to capture the whole kit in stereo or a single mic low to the ground for a roomier kick and snare sound.
Percussion
From djembes and bongos to maracas and tambourines, ribbon mics are one of the most flattering options for recording percussion. Hand drums can be miked at a slight angle to the top to capture a balance of head resonance and hand slaps, and the R-10’s brighter rear side keeps it from dulling the sound too much. For tambourines, shakers, and other bright percussion instruments, the ribbon will soak up the piercing high-end and leave you with a much more usable track that needs little to no EQ.
These days, condenser mics seem to get all the glory when it comes to vocals, but before they were invented, ribbons were the default choice. Ribbons do a great job of capturing the “body” of a vocal while minimizing sibilance, mouth clicks, and other unflattering noises that condensers are more sensitive to. Try pairing a ribbon with a secondary mic, then blending the two in the mix.
Lead Vocals
On a lead vocal track, a ribbon mic like the R-10 placed 8-12 inches in front of the singer can yield a mix-ready track with full-bodied low-end, silky highs, and no awkward midrange spikes. To avoid plosives, place the mic slightly off-axis just like you would with any other mic. To capture more “head voice” or “chest voice,” simply angle the mic slightly upward or downward.
Background Vocals
Background vocals need to blend into the mix, and ribbon mics make that easy. The bidirectional polar pattern of mics like the R-10 adds a bit of reverb to the sound, and you can increase the ratio of room sound to direct sound simply by moving the mic away. For group vocals, a Blumlein pair of R-10s will give you a wide stereo image with a near-perfect phase relationship that makes mixing easy.
Royer Labs isn’t the only company making high-quality ribbon mics, but they certainly have a lot of experience. Since the late 1990s, David Royer and co. have been innovating and improving on this classic mic design, making products that outclass vintage specimens in sound quality, SPL handling, output, and durability. Check out the video below to learn more about the Royer R-10 ribbon microphone.
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