Ribbon Microphones

The WA-44 faithfully recreates the most iconic studio ribbon microphone of all time. Just like the legendary RCA 44BX ribbons of the 1930s loved by crooners, band leaders, drummers, upright bassists, producers and more, the WA-44 delivers powerful bass with a pronounced proximity effect, lush mids, and a tamed top end. The WA-44 excels on loud audio source and delivers the iconic warm, vintage, & sultry tones, which is what made the original the mic of choice for some of the most legendary vocalists including Elvis Presley, Ella Fitzgerald, Jeff Tweedy, Frank Sinatra, Johnny Cash and many more. With elite build quality and vintage-matched, premium components, the WA-44 faithfully captures the iconic tonal experience at the center of recording and broadcast history.

The engineers at Golden Age used top-drawer componentry to take the original R1 Active design to the next level. This ribbon microphone has a discrete amplifier, Lundahl 1927A transformer, and top-of-the-line capacitors for an exceptionally realistic sound. Like the standard R1 Active microphone, the R1A Premier comes with an internally shockmounted ribbon, selectable highpass filter, and 10dB pad. What’s more, active circuitry drives long cable runs with absolute ease — a major plus in the eyes of Sweetwater. You’ll also receive a detachable cable made with Mogami wire and durable gold-plated connectors. Choose the Golden Age R1A Premier and capture nuanced sound sources like never before!Upgraded internal componentsAside from the alternate finish, the R1A Premier differs from the R1 Active by virtue of its upgraded internal components. Perhaps the most important among such upgrades is a Swedish-made Lundahl 1927A transformer. You’ll also enjoy the discrete amplifier equipped with Wima film and Nichicon electrolytic audio capacitors. Finally, the R1A Premier microphone features a premium detachable cable made with Mogami wire and gold-plated Neutrik connectors. The Golden Age Project pulled out all the stops to load the R1A Premier with the best components possible — and the difference is quite audible.A ribbon mic for today’s creatorsVintage ribbon microphone designs can be fragile and finicky beats in the studio. However, the Golden Age Project R1A Premier takes advantage of multiple modern upgrades to handle any situation. This mic delivers the classic ribbon sound with a smooth high and an extended low end. The R1A Premier handles extreme sources like a champ, tolerating an unbelievable 160dB SPL (plus a 10dB pad). Don’t worry: the high SPL handling doesn’t sacrifice this ribbon’s sensitivity. It flaunts a high degree of sensitivity that’s especially apparent on vocals. If you need a workhorse studio mic that’s dynamite on almost any source, go with the Golden Age R1A Premier.Golden Age Project R1A Premier Active Ribbon Microphone Features:Upgraded components give this mic an ultra-realistic soundActive circuitry drives long cable runs with easeEasily handles SPLs up to 160dBGreat on vocals, guitar cabs, drums, and other acoustic sourcesHigh-sensitivity design delivers condenser-like soundsFigure-8 polar pattern provides wide sweet spots with excellent side rejectionSwitchable highpass filter cuts low-end rumble10dB pad preserves your signal to noise ratio

Packing two high-quality ribbon elements in a Blumlein configuration, the Golden Age R1 ST ribbon microphone allows you to capture wonderfully deep and wide stereo recordings. You can also use either mic element individually for standard mono recordings, making this a versatile ribbon mic indeed. Its ultra-high SPL handling (up to 160dB) means you can use the R1 ST on practically any instrument or sound source. Complete with a detachable cable, a splitter box offering left and right outputs, a shockmount, and two transport cases, any engineer can appreciate the value in the Golden Age R1 ST vintage-style stereo ribbon microphone.Why Blumlein?Using two figure-8 mic capsules oriented at 90 degrees to each other, the Blumlein microphone method is known for creating a strong center image along with immersive room ambience. When setting up a Blumlein configuration with two mics, you must take the utmost care to ensure the capsules are aligned perfectly for proper phase coherency. With the Golden Age R1 ST stereo ribbon mic, you'll be able to achieve the expansive stereo sound you're after without spending time aligning separate mics.High SPL handlingWith SPL handling up to 160dB, the Golden Age R1 ST ribbon mic handles loud sound sources with ease. If you've got a good-sounding room, Sweetwater recommends trying the R1 ST as an overhead microphone for drums. You'll have a powerful, focused center image, plus the natural ambience you can only achieve with room miking.Must-have accessories includedBecause the R1 ST is a dual-element microphone, it includes a special cable to connect to a splitter box with left and right outputs. This means you can use either mic element individually for mono recordings, making this a seriously versatile mic for your studio. Also included are a shockmount plus hard and soft transport cases for long-term reliability.Golden Age R1 ST Stereo Ribbon Microphone Features:Dual-element ribbon microphone in Blumlein configurationAllows you to capture deep, wide stereo recordings with a single micSplitter box with left and right outputs allow you to use either mic element individually as wellHigh SPL handling (up to 160dB) is suitable for louder instruments and sound sourcesIncludes detachable cable, splitter box, shockmount, and 2 transport cases (1 hard and 1 soft)

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 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 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 2 is quit different from the R 1 series of mics. It features a pick-up ribbon with a shape and assembly that could not be manufactured in the old days. One could say it's a modern ribbon mic still sounding like a ribbon.This new pick-up ribbon is responding better to high frequencies and delivers a higher level output signal. It will do wonders with both clean and distorted guitar, it might be the best drum-ambience mic in our product range, and last but not least it is very low-priced compared to other ribbon mics.

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 

These ribbon mics boast a modern design and exceptional quality at an affordable price. They’re perfect for smaller studios, home studio users and musicians.Specifications:Polar Pattern: bi-directionalFrequency Response: 30-18kHzSelf Noise: 17dB ASensitivity: -50dB±3dB (0dB=1V/Pa at 1KHz)Max. Input SPL: 140Db (at 1kHz≤1% T.H.D)Output Impedance: 20ΩLoad Impedance: 1000Ω

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. 

Beyerdynamic is one of few microphone manufacturers world-wide that still produce ribbon microphones. One of them is the legendary M 130. The M 130's unique double ribbon element has a superb transient response, creating a highly detailed sound with unequalled accuracy and transparency. The bidirectional figure eight polar pattern effectively suppresses unwanted interference from the sides. The M 130's balanced, uncoloured sound handles a wide variety of applications. In conjunction with the hypercardioid M 160, the M 130 is ideal for creating an authentic stereo image through the use of the MS- (Mid-Side) technique.The M 130 gives excellent results when the Mid-Side technique is used to record or broadcast a true stereo image. Its rugged Design handles the demands of remote recording/broadcast sessions as easily as those of the studio. Alone, the M 130 allows the recording of background audience noise and concert hall 'ambience' without unwanted resonances. In the recording studio it is effective with backing vocal groups, percussion and mounted toms. The M 130's crisply articulated, uncoloured sound is well suited to such demanding audiophile applications as digital and direct-to-disc recording. Specifications:Double ribbon microphoneConsistent figure-eight polar pattern throughout frequency responseSuperb transient responseCompact and rugged designCharacteristically warm and natural sound

Beyerdynamic is one of few microphone manufacturers world-wide that still produce ribbon microphones. A classic one is the M 160, a dynamic double ribbon microphone. Featuring a hypercardioid polar pattern with a noise attenuation of 25 dB at 110°, the M 160 is an outstanding microphone which is very effective for all types of remote and in-studio voice reproduction. In the recording studio, the M 160 is recommended for miking string instruments such as violins, violas, cellos and for pianos, saxophones as well as for hi-hat and toms.The non-glare black surface of the M 160 and its small dimensions allow the unobtrusive use in TV or film studios. In conjunction with the M 130 dynamic double ribbon microphone the M 160 is ideal for stereo recordings in MS technique. Specifications:Unique double ribbon microphone transducerHypercardioid polar patternExtended frequency responseExcellent transparency and transient responseCompact and rugged designWarm and natural sound

The groundbreaking Audio-Technica AT4080 Microphone achieves coveted ribbon microphone sound while solving the fragility and low output problems that have historically plagued ribbon mics. Delivering the warm, smooth sound of a classic ribbon microphone, the handcrafted bidirectional AT4080 offers a robust build for long-lasting, reliable performance, as well as higher output for maximum compatibility with microphone preamplifiers.Equally at home in recording studios and live-sound settings, the AT4080 microphone boasts Audio-Technica's innovative MicroLinear ribbon imprint, which protects the dual ribbons from lateral flexing and distortion. The innovative AT ribbon transducer advances the evolution of ribbon microphone design. Other enhancements include powerful N50 neodymium magnets for high output level, ultra-fine mesh to protect the ribbon against damage, high-SPL capability, and extended frequency response. The bidirectional AT4080 ribbon mic's housing assembly is open acoustically to minimize unwanted internal audio reflections.Features:Smooth, warm and natural high-fidelity sound for professional recording, broadcast, and sound reinforcementGroundbreaking Audio-Technica ribbon design with 18 patents pendingProprietary MicroLinear ribbon imprint for superior durabilityInnovative dual ribbon construction for increased sensitivityExtremely powerful N50 neodymium magnets for high output levelUltra-fine mesh helps protect against ribbon damageClassic bidirectional (figure-of-eight) polar pattern picks up sounds equally from the front and back of the elementHigh-SPL capability and extended frequency responseExtended frequency response for natural audio reproductionAcoustic baffle system and extra large output transformer provide natural low-frequency response and extended dynamic rangeHandmade production — including ribbon corrugation, imprint, and assemblyOpen acoustical environment of the housing assembly minimizes unwanted internal reflectionsPhantom-powered active electronics provide stable impedance and higher output for maximum compatibility with microphone preamplifiersCustom shock mount provides superior isolationCertified by the METAlliance (Music Engineering and Technology Alliance)Specifications:Element; RibbonPolar Pattern: Figure-of-eightFrequency Response: 20-18,000HzOpen Circuit Sensitivity: —39dB (11.2 mV) re 1V at 1 PaImpedance: 100 ohmsMaximum Input Sound Level: 150dB SPL, 1kHz at 1% T.H.D.Noise: 22dB SPLDynamic Range (Typical): 128dB, 1kHz at Max SPLSignal-To-Noise Ratio: 72dB, 1kHz at 1 PaPhantom Power Requirements: 48V DC, 3.0 mA typicalWeight: 474g (16.7oz.)Dimensions: 177.5mm (6.99") long, 53.4mm (2.10") maximum body diameterOutput Connector: Integral 3-pin XLRM-type

The AEA R84 is an affordable Large Ribbon Geometry (LRG) microphone suitable for use by the most demanding audio professional or hobbyist. This "R84 Zone" is for you and other users to share your experiences. We expect to expand this area with practical illustrations, guides to tracking situations, and actual recording experiences. Our intention is to encourage and support your success and satisfaction as you become familiar with this mic's unique features. Drop us an e-mail to share your experiences, or if you want to be informed when we post new, practical information here.If you are new to ribbons, you are in for a treat! Experienced users have discovered the R84 is an outstanding general-purpose microphone, ideally suited for solo and accent work. It is hard to find an application where this mic does not shine. It is a fine example of the natural sound and figure-8 directional sensitivity a quality ribbon mic delivers. Pure natural sound, just as you hear it when you're placing your mic in the studio.Quick smooth transients that capture the feeling of being there without sounding like a recording.Extended bass and treble that captures the details without shoving anything in your face.A figure-eight pattern that focuses your recording on the sound you want. We believe you will enjoy the confidence this mic inspires. It's a forgiving tool that makes your recording work easier, as it literally sounds good on everything. Try it first and you'll usually like it and find it sits well in the mix. When time is scarce and quality necessary, put the R84 to the test. Our users' experience is that you'll use it more and more (in pairs too!). Then it will start to really grow on you.StudioAuditions.com features clips of the R84 on a series of guitars and vocals, located in their "Jam Room Sessions." Select "microphones in the first column, then select AEA as manufacturer, and then AEA R84 under model, and then choose from the list of source clips.

Shure made the KSM353 ribbon microphone to give you the smooth ribbon performance you love, but added a bonus: a ribbon element that can stand up to high SPLs. Hand-assembled in the USA, the KSM353 is capable of working over a wide frequency range, without losing the natural characteristics that make ribbon mics desirable. You'll appreciate the tough, proprietary Roswellite ribbon material Shure uses in this mic; it can handle up to 146dB, so you know it's tough enough to put on everything from vocals to instruments. Built to sound great and to last, the KSM353 makes an instant essential for your mic locker! Features:Roswellite ribbon elementIf the fear of damaging a ribbon mic's fragile ribbon element has made you hesitant about adding one to your locker, worry no more. Shure's KSM353 uses a stronger element made of Roswellite material, which has better "shape memory" than conventional materials. This means the KSM353 can withstand high SPLs without ill effects — and still give you the smooth ribbon-mic character you're looking for.Premium constructionIn addition to its Roswellite ribbon element, the KSM353 comes packed with premium components. Inside, for example, you'll find a double-shielded transformer, which gives you robust output while minimizing RF and magnetic interference. This is a must for modern recording situations. A custom ribbon motor assembly tailors bass response without attenuating the overall output, so you get full lows and mids. You also get great upper-range presence from this mic. This hand-assembled mic includes high-quality machined steel, silver, gold, and aluminum materials throughout, and you can expect it to remain a mainstay in your studio for years to come. You get classic, smooth performance, even on loud sourcesYou'll definitely be able to put this mic's figure-8 pickup pattern to work in your studio setup. The KSM353 delivers completely symmetrical audio on axis, while its off-axis rejection is stellar. Like other great ribbon mics, the KSM353 provides smooth character, but it also gives you plenty of articulation and detail. Unlike other great ribbon mics, however, this one can handle serious SPLs.  

 The KSM313 is best suited to amplified instruments or for intimate vocal applications.Bi-directional polar pattern delivers premier audio with superior off-axis rejection True Dual-Voice tuned specifically for user’s for choice of response - warm and full for amplifiers, or swivel for bright and flattering vocalsRevolutionary Roswellite™ proprietary ribbon material replaces traditional foil ribbons with high tensile strength, toughness and shape memory that provides superior resilience at extreme SPLsCustom-sourced components for superior presence, minimized signal loss and maximized output.146dB SPL across 30 – 15,000 Hz frequency response ideal for capturing fast transients in vocals, acoustic instruments and concert hallsLegendary Shure quality and superior construction from hand-assembly of machined steel, silver, gold and aluminum materialsMonocle stand mount custom swivel mount for fully versatile placement and orientationProtective wood case included for storage when not in use  TECHNICAL SPECIFICATIONS:Transducer Type : RibbonPolar Pattern: BidirectionalFrequency Response: 30 Hz - 15 kHzSensitivity (1 kHz): -54,5 dBV/Pa / 1,88 mV/PaSound Pressure: 146 dBWeight: 400 g 

The R 1 Active MKIII is a very cool mic that combines the best of two worlds; the warmth of a ribbon and the stability of a F.E.T. buffer ampilier. This means that you can use the R1 Active MKIII with long cables and virtually any pre-amp featuring 48V phantom power.A clean and clear sound, yet warm and punchy is what the R1 Active MKIII will deliver in most cases. We love it on drums, as an ambience mic or in pairs for O.H. pickup, but it sounds great on most instruments.The R1 Active MKIII is in fact a very versatile mic even suitable for some sensitve vocal recording! And even more so now when the mk3 version includes switches for low cut and 10dB pad.

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 

The R 1 MKII is a high quality vintage style ribbon microphone. It offers the unique and natural sound that has been available in classical microphones like the RCA 44 and 77 that are still used to make high quality recordings today, after almost 70 years. The R1 Mk2 is very well suited for the recording of most sound sources like vocals, acoustic instruments, strings, horns, orchestras and choral groups and many live sound applications.

Το R 1 ACTIVE είναι ένα έξοχο μικρόφωνο που συνδυάζει το καλύτερο από δύο κόσμους, τη ζεστασιά ενός ribbon και τη σταθερότητα ενός F.E.T. buffer amplifier. Αυτό σημαίνει ότι μπορείτε να χρησιμοποιήσετε το R 1 ACTIVE με μακριά καλώδια και ουσιαστικά οποιοδήποτε προενισχυτή που έχει 48V phantom power.Καθαρός και σαφής ήχος, όμως θερμός και δυνατός είναι αυτό που το R 1 ACTIVE θα αποδώσει στις περισσότερες περιπτώσεις. Το αγαπάμε στα ντραμς, ως μικρόφωνο ατμόσφαιρας ή σε ζευγάρια για overhead. Αλλά το R 1 ACTIVE είναι στην πραγματικότητα ένα πολύ ευπροσάρμοστο μικρόφωνο κατάλληλο ακόμα και για oποιαδήποτε κριτικής σημασίας φωνητική ηχογράφηση!