STUDIO GOLD | Royer R-10 Ribbon Mics

today on riff spirits and gear we play with a couple of ribbon microphones from royer [Music] [Music] in the world of microphones i would say the most popular and most well-known ribbon microphone may arguably be the royer 121 as it sounds wonderful which literally every other microphone ever made and it's also very popular on things like guitar cabs but also things like room mics and overheads and things but with the 121 you do have to worry about the sensitivity of the ribbon and possibly blowing the mic today we are going to look at what i would consider kind of a little sibling of the 121 the r10 ribbon microphones from royer now before we go any further this video is sponsored by sweetwater sweetwater has literally just about every microphone you could ever want or need for any application whether it's live or in the studio i will link down below in the description to sweetwater.com and with that let's get on with it shall we now the r10 is built to handle very high spl volume ratings this mean it can take your snares it can take your loud bass cabs guitar cabs without any harm to the actual ribbon transducer itself this is uh this is not usually the case with a lot of ribbon microphones ribbon microphones are inherently fragile not so with the r10 now along with high volumes you also get a totally flat frequency response with no spiky top end or anything these are very very smooth sounding and very uh they're weighty they feel they feel durable um these are also 500 bucks a pop which is significantly less money than a lot of ribbon microphones now as the r10r mono i have two of them and uh i went up to synergy productions up uh just outside of seattle with dragged under drummer kalin anderson and i use these in two different applications first i use these in an overhead drum configuration and then i used a single r-10 in front of my taylor grand pacific acoustic guitar now i was very very spoiled with synergy productions as they have they have a vintage ssl 4000 g series desk and it sounds so good and they also have a bevy of outboard gear and the drum room looks and sounds wonderful so really it made my job miking these very very easily however we are uh miking the uh truth drum kit that kalyn tours with and he has zildjian symbols and we used a bunch of different microphones for the shelves however we will go after i let you listen to the tune we will go into logic and i will isolate and let you hear what the royers are exactly doing so without further ado let's hear these in the context of a mix shall we [Music] [Music] [Music] [Music] [Music] all right so i am in logic i have gone ahead and muted the guitars and the bass here is what the drums sound like by themselves with my just the processing that i did so [Music] you can hear how warm the r10 is with the acoustic guitar and i will note that we also had to move the mic around a little bit because it was way way too warm more directly in front of the sound hole once we moved it up to about the 12th fret uh and back a little bit it opened up quite a bit just by itself no no pencil condenser needed now i will note with these drums uh the only sample that i used was uh just a little bit of a reinforcing sample with the kick drum everything else is on natural believe it or not um again the drums sounded incredibly good in this room and also you know having a 4000g ssl helps as well so let's get to the let's get to the drums okay isolated drums [Music] now i'm going to play you the naked overheads i have just a little bit of processing going on i have the ssl native channel strip going on and then i'm also adding some saturation that's that's really it a little bit of sooth to smooth out the overheads just a little bit um that's literally it so i'm going to turn well mainly what i'm doing is rolling off some of the low end not all the low end just some of the low end um here are the totally raw overheads by themselves [Music] sound really good um we were processing on the way in we were we had a little bit of compression going and a little bit of pultec eqs going in context though these are a very very i don't know the overheads are very very smooth which is what i would prefer to have to add a little bit of top end versus having to fight to take away too much top end right so these are actually some of the better overhead mics i have ever used because typically my problem with things like telefunkens you know or copperheads or something like that is they're just crazy bright and uh these are just butter on on the cymbals make for a really really nice image as well so i'm gonna combine these with the rooms and let you hear what it really sounded like in the room [Music] [Music] [Music] okay now let's move on to the the acoustic guitar so with the acoustic guitar i did i just double tracked it uh my processing is i e cued it a little bit i added some saturation i'm going to turn all of these things off i am going to leave the sends for the reverb on actually now let's let's take that off and here's how the raw acoustic tracks sound by themselves [Music] [Music] [Music] they're not muddy they're very warm and there's not that typical um i mean the guitar doesn't have it either but the it doesn't have that typical taylor super toppy snappiness this is a much more a warmer acoustic guitar tone which i'm really into all i did is come in with a a dangerous bax eq bax eq [Music] taking away some low end i'm adding a little bit top end a little bit more top end coming in with the black box for saturation [Music] that that's very subtle and then i'm coming in with a pro q3 and just kind of taking out a little bit of the mid-range [Music] a little bit of compression and uh bob's your uncle that's that's literally it um these microphones are just so buttery smooth i love them yeah i don't know there's not really much more to say i really love the imaging on the overheads um i'm going to be using these in the future for more drum overhead applications for sure and uh yeah that is the royer r10s in the context of a mix so what do we think honestly these are really really phenomenal sounding especially for 500 bucks a pop that come in their own hard shell cases and they're just so buttery smooth typically with ribbons for me personally my own experience with ribbons in the past has been that of muddiness and a little um less favorable uh applications for the ribbons that i have tried now to i am not the world's foremost expert on ribbon microphones however these are sweet and they're not muddy and they're just really really smooth so yeah check them out they will definitely add some dimension and flavor to whatever you are trying to capture with your microphone setup huge shout out to my homie jason lackey and synergy productions for allowing me to come on in and just point a camera in everybody's face uh they were a huge help for the production of this video and thank you to our sponsor sweetwater for providing me the writer mikes i'll link down below in the description and with that you've been wonderful ivan fluff thank you so much for watching and i'll see you next time so

Channel: Riffs, Beards & Gear

Views: 6,611

Keywords: Fluff, Riffs Beards Gear, Vlog, Blog, Video Blog, Guitar, Comedy, Education, Funny, Electric Guitar, riffs, beards, gear, EVH, 5150, Mesa Boogie, Fender, Music Man, Ernie Ball, Line 6, Helix, UAD, Logic Pro X, Neumann, Soldano, Marshall, Peavey, Ola Englund, Rob Scallon, Jared Dines, Hosa, Dragged Under, Chug, Sony, A7sIII, Alpha, Neural DSP, Gibson, Les Paul, Royer, Royer Mics, Sweetwater, 121, R-10, Synergy Studios, Seattle, Crooked Halos

Id: hL3REwjS5UU

Length: 12min 42sec (762 seconds)

Published: Mon Jun 27 2022