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Summary of Contents for royer R-10
- Page 1 Royer Labs Model R-10 Mono Ribbon Velocity Microphone Operation Instructions Manual & User Guide Designed and Built in the U.S.A.
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Page 2: Table Of Contents
Other Types of Microphones Proximity Effect and Working Distance The Sound That Is “More Real than Real” Microphone Techniques General Tips for Using the Royer R-10 Recording Loud or Plosive Sounds Stereophonic Microphone Techniques Classic Blumlein Technique Mid-Side (M-S) Technique Care &... -
Page 3: Introduction
Royer’s patented offset-ribbon technology and a custom-designed matching transformer, the R-10 is able to handle SPLs of 160 dB (at 1 kHz) with no overload or distortion. This allows for comfortable use on instruments like electric guitars, horns, drum overheads and Leslie speakers,... -
Page 4: Ribbons In The Digital World
This method is used to achieve the same ratio of direct to reflected sound. 2. In the horizontal plane, the R-10 does not discriminate against the highs off axis; nor does it boost highs on axis. Therefore, several instruments or vocalists can be placed in front of the microphone without favoring the performer in the center of the group. -
Page 5: Amplification Considerations
5. Never attempt to test the R-10 or any ribbon microphone with an ohmmeter. A blown ribbon could result. 6. Always provide adequate protection for your R-10, or any ribbon microphone. If the microphone is to remain set up on a stand when not in use, place a mic sock (supplied with every Royer microphone) over it until it is to be used. -
Page 6: Equalization & Ribbon Microphones
five times the impedance of the microphone. For example, if the mic is rated at 100 Ohms (as the R-10 is), the preamp should have an input impedance of at least 500-700 Ohms. If the impedance of the preamp is too low, the microphone will lose low end, body and sensitivity. -
Page 7: Hum, Noise & Mic Orientation
but the EQ friendliness inherent in ribbon microphones does allow for an enormous amount of flexibility. Ribbon mics take EQ so well because of their inherent low self-noise, unusually smooth frequency response characteristics and freedom from off-axis coloration. Dialing in high amounts of equalization on condenser or dynamic microphones also brings up equal amounts of the microphone’s distortion products and noise;... -
Page 8: Other Types Of Microphones
There are only general rules as to where the sweet spot may be found for any given microphone, and usually experimentation reveals it. The sweet spot can be extremely variable since it depends on the quirks of a given microphone and a given room. Once the sweet spot is discovered, this placement can become a rule of thumb starting point for future microphone placement with similar sound sources. - Page 9 Typical relationship of microphone distance to frequency response for ribbon-velocity bidirectional microphone. This bass-boosting characteristic can become quite intense and, if desired, can be corrected by equalization. However, for a multiple microphone setup, the pronounced bass boosting (due to proximity effect) can be turned to an advantage. If an instrument, such as a trumpet, is extremely close-miked and the bass is cut to restore flat response, unwanted low-frequency sounds are cut back by upwards of 20dB compared to an un-equalized microphone with a flat response.
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Page 10: Microphone Techniques
Placing the mic at greater distances from the speaker cabinet adds more room ambience to the mix. You will find that the R-10 does not add undesirable elements to the sound. Basically, what you hear at the amp is what you get in the control room and in your recordings. -
Page 11: Recording Loud Or Plosive Sounds
filter to prevent excessive ribbon movement. If the front head has a hole cut in it, position the microphone away from the hole to avoid excessive air blasts. An R-10 used as a mono room mic, four to six feet in front of the kit and compressed, will yield a surprisingly large, full drum sound. - Page 12 2. Example of Horizontal Positioning Technique Angling the microphone slightly minimizes stressing the ribbon. Due to the microphone’s pickup pattern, sound will not be affected. 3. Side View of Kick Drum Miking Technique A) Close miking —angle mic so the sound pressure wave is off-axis B) Standard miking position 4.
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Page 13: Stereophonic Microphone Techniques
Stereophonic Microphone Techniques Classic Blumlein Technique For many years, several coincident microphone setups have been widely used for recording in stereo as naturally as possible. The “Blumlein” technique, named for A.D. Blumlein of England, involves the use of two figure- eight microphones positioned as in the sketch (see Figure 1), so that one faces left and the other right, at an angle of 90 degrees (i.e. -
Page 14: Mid-Side (M-S) Technique
Mid-Side (M-S) Technique In the early days of stereo radio broadcasting, the mid-side recording technique was developed to allow for 1) simultaneous stereo and mono feeds from the same mic array and 2) electronic manipulation of the width of the stereo image. Figure 2 - Typical M-S Miking Technique In M-S recording, one mic faces sideways, one faces forward as shown in Figure 2, and they are connected as shown in Figure 3. -
Page 15: Care & Maintenance
Care & Maintenance The R-10 is a hand-built precision instrument. All that is required to ensure proper operation of this microphone is to follow some common-sense rules. 1. Avoid transducer damage by not exposing the microphone to severe shock or vibration. If the microphone is accidentally dropped, test it to see if damage has occurred before returning it to service. -
Page 16: Features
Features • Very high overload characteristics – maximum SPL rating of 160 dB @ 1 kHz. • No internal active electronics to overload or produce distortion up to maximum SPL rating • 3-layer windscreen system protects against wind exposure and lowers proximity effect on close-miking •... -
Page 17: Electrical Specifications
Length including mounting base: 5 7/8-inches (149mm) Width 1 3/8-inches (35mm) Finish: Nickle Powder Coat Accessories: Swivel microphone holder, aluminum case, protective mic sock Optional Accessories: pop-screen To learn more about Royer products and their usage, visit our website at www.royerlabs.com. -
Page 18: Polar Pattern
Polar Pattern Frequency Response... -
Page 19: Warranty
Warranty The Royer R-10 is warranted for a period of five-years from date of purchase. The first re- ribboning is free within one year of purchase. Customer pays all shipping charges PLEASE RETAIN YOUR ORIGINAL BILL OF SALE AS YOU WILL NEED TO PRESENT IT SHOULD YOU REQUIRE SERVICE UNDER THIS WARRANTY.
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