Royer

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 (making it our best choice for live work), 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 SoundRoyer 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. On these instruments, pairing the R-10 Hot Rod with our dBooster in-line signal booster gives even better 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. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). For audio examples of EQ’d vocals, visit our Audio/Video Library.

The Royer model R-DB22 dBooster2 features two channels of dBooster ribbon & dynamic micro-phone 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.RECOMMENDED APPLICATIONSMiking any low-volume sound source (acoustic instruments, vocals, etc.)Recording direct to a DAW interfaceUse on long cable runs to retain sound qualityDI for direct electric guitar, electric bass, and other instruments

The dBooster has two gain settings, 12 dB and 20 dB, allowing you to dial in just the right amount of in-line gain for your different singers and instruments. The 20 dB setting gives loads of clean boost for recording soft instruments and singers, but when your singer is wailing or you use the dBooster on high volume instruments like electric guitar, switch it down to 12 dB to keep from overloading your preamp or digital interface.  The dBooster’s Class A input stage delivers crystal clean gain with virtually no noise or self-distortion. The dBooster’s low-impedance output keeps things clean in the studio and also shines on live stages, driving long cable lengths and difficult loads like mic splitters and vintage-style preamps with no loss of gain, no increased distortion, and excellent headroom. The dBooster gives excellent results with Royer R-121s, R-10s and stereo SF-12s. It also smokes on SM7s and other dynamic mics! The dBooster is built in the USA and ships from our Burbank headquarters. Features: Switchable 12dB/20dB gain Ultra-low noise, ultra-low distortion Class A input stage Safe for use on all ribbon mics Wide frequency bandwidth Retains sound quality on long cable runs Maintains headroom and gain regardless of load ​

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.The Sound Royer ribbon mics are legendary on electric guitar and the R-10 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 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin.  The R-10 is excellent on brass and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. Close up of mountDrums are full bodied with realistic (not over-hyped) transients 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, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth 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 record warm and naturally on an R-10, and the EQ-friendliness of the R-10 allows for dialing in completely different sounds with liberal use of EQ. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). For audio examples of EQ’d vocals, visit our Audio/Video Library. Royer’s Patented Offset Ribbon TechnologyThe 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). For more information on the R-series transducer design, see https://www.youtube.com/watch?v=B-KaSiYYcDU The R-10 is available in matched pairs.  Features:High SPL capabilities for electric guitar, brass and other close miking applicationsMulti-layered wind screen provides superior protection to ribbon elementInternally shock-mounted ribbon transducer gives increased durabilityPassive design and custom transformer minimize high SPL overloadHum-bucking transducer design delivers extremely low residual noiseRibbon element not affected by heat or humidityAbsence of high-frequency peaks, “ringing” and phase shiftsEqual sensitivity from front or back of the element  

The R-121 is our flagship microphone and the worlds first radically redesigned ribbon microphone. 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 warm, natural tonal response that top engineers have always loved ribbon mics for, but in a compact, light-weight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the R-121.Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But thats 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 a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. Its built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "the Royer R-121 is destined to become one of the classic microphones of the 21st century".       FEATURESHigh SPL Capabilities               No internal active electronics to overload or produce distortion up to maximum SPL rating              Extremely low residual noise              Ribbon element is not affected by heat or humidity              Absence of high frequency phase distortion              Equal sensitivity from front or back of element              Consistent frequency response regardless of distance               

The all new Sling-Shock is a revolutionary departure from traditional shock mount designs. We've done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations. In the Royer tradition, the Sling-Shock is hand-built in our Burbank, CA facility using only the finest materials.Our proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock's superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.The Sling-Shock RSM-SS1 is sized to fit Royer's 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. Specifications:Superior isolation from vibration and shocksFelt-lined, scratch-free microphone chamber holds mic securelyNo rubberized parts to degrade or stretchFlexible for easy microphone positioningLifetime warranty

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.Gain Our Active Series ribbon mics are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET's to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you'll have enough level to drive any recording medium.The SF-2's electronics create no additional self-noise. All of the SF-2's higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of 'free gain.' The phantom powered system operates at less than unity, adding no noise of its own.Impedance Matching The electronics in the SF-2 provide a perfect load to the ribbon element at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-2's can be used on extremely long cable runs with minimal signal loss.A proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.The SF-2 Story Twenty prototype SF-2's circulated in major studios and scoring stages for years before the microphone's release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn't get most of the prototypes back...Packaging The SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual.The optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case.            TECHNICAL DATAElectrodynamic pressure gradient with activeelectronics.Polar Pattern: Figure-8Generating Element: 1.8-micron aluminum ribbonFrequency Range: 30 HZ - 15,000 HZ +/-2dbSensitivity: -38 dBv Ref 1 Volt per PascalOutput Impedance: 200 Ohms @ 1khzRated Load Impedance: > 1500 OhmsMaximum SPL: > 130 dB SPLOutput Connector: Male XLR 3 pin (Pin 2 Hot)Power Requirements: 48-Volt PhantomSupply Current: 4 mAHigh grade neodymium magnet assemblyStainless steel internal baffle and dampenerWeight: 448 grams (15.8 oz.)Dimensions: 142 mm x 39mm (base) x 25mm (top)Finish: Matte black Polar PatternFrequency Response

The SF-24V ribbon microphone is the pinnacle of our stereo ribbon microphone designs. With the inclusion of vacuum tube circuitry derived from our TEC Award winning R-122V, the SF-24V provides unmatched clarity, detail, midrange reach, and an airiness previously unknown to ribbon microphones. For orchestra, acoustic instruments and all critical stereo applications, the SF-24V is perfection.

The R-122V was originally developed in 2001 as a benchmark to test our R-122 designs against. Over four years of additional development, the unique R-122V has evolved into a world class ribbon microphone with unparalleled richness, depth and detail, especially in the midrange frequencies. R-122V recorded tracks reveal a lush-ness that must be heard to be truly appreciated. The R-122V vacuum tube ribbon microphone 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 a headroom capability far beyond that capable from a standard phantom power supply. In real-world use, this translates into unmatched clarity, detail and airiness.        FEATURES Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedance Extremely low self-noise Operates from a dedicated power supply High SPL capabilities for electric guitar and percussion instruments Absence of high-frequency peaks, "ringing" and phase shifts Ribbon element unaffected by impedance/load, heat or humidity Very low magnetic leakage Equal sensitivity from front or back of element Consistent frequency response regardless of distance Rear side of mic records slightly brighter when three feet or closer to sound source

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).         FEATURES True stereophonic (Blumlein and M-S) recording from one microphone. High SPL capabilities. No internal active 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 phase distortion. Equal sensitivity from front or back of elements. Consistent frequency response regardless of distance. High efficiency, matching toroidal transformers. Very low magnetic leakage.

The SF-24 has all of the outstanding stereophonic capability and sonic performance of our award winning SF-12 stereo ribbon microphone, with the addition of condenser-level output and impedance matching circuitry. Designed to work with phantom power, the SF-24 makes preamplifier mismatches and gain-related noise a thing of the past.

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.The Sound Royer ribbon mics are legendary on electric guitar and the R-10 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 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin.  The R-10 is excellent on brass and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. Close up of mountDrums are full bodied with realistic (not over-hyped) transients 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, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth 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 record warm and naturally on an R-10, and the EQ-friendliness of the R-10 allows for dialing in completely different sounds with liberal use of EQ. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). For audio examples of EQ’d vocals, visit our Audio/Video Library. Royer’s Patented Offset Ribbon TechnologyThe 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). For more information on the R-series transducer design, see https://www.youtube.com/watch?v=B-KaSiYYcDU The R-10 is available in matched pairs.  Features:High SPL capabilities for electric guitar, brass and other close miking applicationsMulti-layered wind screen provides superior protection to ribbon elementInternally shock-mounted ribbon transducer gives increased durabilityPassive design and custom transformer minimize high SPL overloadHum-bucking transducer design delivers extremely low residual noiseRibbon element not affected by heat or humidityAbsence of high-frequency peaks, “ringing” and phase shiftsEqual sensitivity from front or back of the element 

In 2002 Royer  introduced the R-122, the world's first phantom powered, active ribbon™ microphone. It was a revolutionary development in ribbon mics, combining impedance matching circuitry with condenser-like output levels that allowed the R-122 to be used on even the quietest sound sources. It also allowed the mic to be paired to virtually any preamplifier.The R-122 MKll takes the R-122 to a whole new level, delivering unprecedented flexibility for ribbons via the addition of a switchable -15 dB pad and a switchable bass-cut filter. The switches are completely out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-122. The switches are located on the back of the microphone and recessed to prevent accidental activation.The PadThe R-122 MKll’s switchable -15 dB pad is positioned before the microphone’s electronics and, when engaged, eliminates any potential for headroom-related distortion on even the loudest sound sources. Wide open electric guitars are no problem. With the pad in, the R-122 MKll’s output is actually 2 dB lower than our flagship R-121.The R-122 MKll’s well-designed pad has no sonic imprint. Once levels are matched, the R-122 MKll reproduces sound exactly the same with the pad in as with the pad out.The Bass CutWhen switched in, the R-122 MKll’s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic’s bass buildup due to proximity effect. This smooth filter is extremely useful on vocals, many acoustic instruments, and close-miked electric guitars when less bottom end is desired.The R-122 MKll’s electronics are hand-wired in our Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response then traditional ribbons, making it a first call ribbon mic for drum overheads, percussion and all acoustic instruments.Gain
Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources. The R-122 MKll’s output level is much higher, allowing you to use practically any mic preamplifier or board pre's to record even the quietest sounds. The R-122 MKll contains a fully balanced, hand-wired, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET's. This system is extremely quiet and brings the R-122 MKll's sensitivity to 37 dB, all while allowing for high SPL recording! Go ahead and plug a MKll into any preamp with average gain - you'll get full Royer performance and enough level to drive any recording medium.There is no increase in self-noise in the R-122 MKll's higher sensitivity. All of the mic’s additional output comes from its large, specially wound toroidal transformer - that wonderful thing called "free gain." The phantom powered circuitry provides impedance conversion only, adding no noise of its own.Impedance Matching
The R-122 MK's active electronics put a perfect load on the ribbon element at all times, allowing the microphone to deliver its full sonic potential regardless of the input characteristics of the following pre. Due to its low-impedance output, R-122's can be used on extremely long cable runs with minimal signal loss. In addition, the ribbon element can't be damaged by phantom power, miswired cables or electrical glitches.Patented Offset Ribbon Technology
The R-122's proprietary offset ribbon transducer (Patent # 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone. This configuration gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones. 

The R-121 is our flagship microphone and the worlds first radically redesigned ribbon microphone. 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 warm, natural tonal response that top engineers have always loved ribbon mics for, but in a compact, light-weight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the R-121.Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But thats 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 a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. Its built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "the Royer R-121 is destined to become one of the classic microphones of the 21st century".       FEATURESHigh SPL Capabilities No internal active electronics to overload or produce distortion up to maximum SPL ratingExtremely low residual noiseRibbon element is not affected by heat or humidityAbsence of high frequency phase distortionEqual sensitivity from front or back of elementConsistent frequency response regardless of distance