The Royer R-10 is a passive mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank California factory, the R-10’s sound and performance are all-Royer and it handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allows for flexible, unobtrusive positioning.
The R-10’s 2.5-micron aluminum ribbon element is formed with our our patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise.
The R-10’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’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability.
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.
Royer R10 (coming soon) 797 Audio CR998 (multi-pattern tube mic) 3U Audio Warbler MKII 3U Audio CM1 Teal Sennheiser e914 AT 4041 Oktava MC012 MXL 603s Naiant MSH-1 pair Shure Unidyne III 545s EV664a AT 871UG
Is this another Recording school homework project ?
I'm an oddball so don't listen to me Lol. I am going to try a 3-mic setup again but not because I want more snare in the overheads (never a problem for me, probably because it's just too much fun hitting it hard and/or with rimshots), but rather, to fill the center hole with...
Nobody has reviewed this product yet. Have an opinion?