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The Royer 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 advancements pioneered by Royer Labs, including multi-layered wind screening for superior protection from air blasts and plosives. The screening also provides reduced proximity effect, allowing for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile.
High SPL capabilities for electric guitar and percussion
Multi-layered wind screen provides superior protection to ribbon element
No internal electronics to overload or produce distortion up to maximum SPL rating
Extremely low residual noise
Ribbon element not affected by heat or humidity
Absence of high-frequency peaks, "ringing" and phase shifts
Equal sensitivity from front or back of element
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 back side (3 feet and closer; phase reversed in this position). The back side of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.
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