Way back in 1998, I reviewed the R-121, the first microphone from a startup company called Royer Labs. This mic sparked a revival in ribbon mics that continues to this day, not only from Royer, but other manufacturers as well. But the R-121, and its patented (U.S. #6,434,252) proprietary offset ribbon technology with a pure aluminum ribbon and neodymium magnet structure proved to be a hit even to this day (and earning a Technical Grammy Award in 2013), offering a warm, smooth sound from a transducer that was more compact and rugged than previous ribbon designs.
Some years later, the R-121 was followed by the R-121L, a version that uses a slightly thicker, 4.0 micron ribbon element (the R-121 has a 2.5-micron ribbon) more suited to the rigors of the sound reinforcement environment. The R-121L (and the original R-121) was welcomed by the live production community, and Royer ribbons found their way onto tours with artists such as Aerosmith, George Strait, Brian Setzer, Pearl Jam, Kenny Chesney, Shania Twain, Maroon Five, Ben Harper and dozens more, as well as Broadway shows. And with good reason, as the R-121/121L can impart an uncolored, natural sound to guitar amps, stringed instruments, percussion, acoustic bass, drum overheads, horns, reeds and more.
There are some drawbacks, such as the bidirectional figure-8 pickup pattern, which can create some feedback and/or isolation issues. However, the Royer mics have a high SPL handling capacity (in the 135 dB range) and when the mic is placed a couple inches in front of a cranked guitar cabinet or trumpet bell, the amount of energy being picked up at the rear side of the mic capsule is negligible. And the excellent side rejection helps control leakage from nearby instruments.
One question stems from the “fragility” of ribbon microphones. While it is true that the delicate ribbon within any ribbon transducer can be damaged by a strong wind blast (keeping a ribbon mic out of a kick drum is a good idea), with a little careful attention, a ribbon element can last for decades. Keep in mind that unlike “use as a hammer” dynamic models, ribbon mics do not take well to stage falls. However, I also try to avoid dropping my AKG C-414 and Shure KSM141 condenser mics, and those get plenty of onstage use.
The R-121 series mics have a street price of $1,295, which, while well under the price tag of traditional ribbon mics in the RCA genre, is somewhat above the cost of the “usual” sound reinforcement mic.
With that in mind, Royer developed the R-101, which shares the patented offset ribbon design of the company’s other mics, yet carries a more affordable $799 street pricing. And with more Royer mics showing up at venues, houses of worship and on tour riders, we decided to take a closer look at the R-101.
Something Different
Even from a glance, the R-101 is quite the different animal from earlier Royer designs. Unlike the R-121 models, the R-101 is only available in a matte, non-reflective, basic black finish on its no-frills, cylindrical body. The R-101 is also substantially larger than the R-121 mics, measuring nearly eight inches long, 1.4 inches in diameter and weighing in at a chunky 17 ounces.
Intended to provide additional wind protection, especially in live applications, the R-101’s multi-layered wind screening provides effective protection from air blasts and plosives, and an internal capsule shock mount protects from minor jolts and bumps. As part of the package, along with the custom shock mount and foam lined aluminum case, a fitted wind sock is also provided, which can be placed over the mic while it’s not in use, to prevent any inadvertent wind damage.
The R-101, In Action
The included shock mount suspends the body by large top and bottom elastics. None of these are exactly standard items and given the fact that the mic is intended for live use (where “stuff” happens), it would be nice if Royer included some spare elastics to keep in the carry case. That said, the mic body screws easily and securely into the shock mount. The mic is sensitive to stage-borne vibrations and the use of the shock mount is essential, even if you could find a mic clip to grip the large body.
An interesting aspect of the offset ribbon element is that the front logo side of the mic has a slightly higher SPL handling capacity, while the mic’s rear side offers a somewhat brighter response. This affords a choice of two different voicings from the same mic. However, the user should keep in mind that — as with any figure-8 mic — any sounds entering the rear side will be out of phase in relation to the front and may require using the polarity reverse correction at the console, especially if combined with other nearby mics.
One of the R-101’s minor tradeoffs is that it exhibits a slightly lower sensitivity (-48 dB, 1V/Pa) than that of the R-121’s -50 dB spec. Yet, while I was close-miking high-SPL sources, this becomes a moot point. With the R-101 about an inch in front of the grill of a Marshall 1969 4×12 or a vintage Fender Deluxe Reverb, what I heard was exactly what the amps were delivering, without the edginess you might encounter from the presence boost of a dynamic or condenser. And the same applied to trumpet and alto sax, with the R-101 faithfully capturing the instruments.
On thing that surprised me was the mics’ extended top end, which although spec’ed to 15k Hz (-3 dB) seemed to go well beyond that. This definitely opens the R-101 up to applications such as acoustic guitar and strings miking, offering a natural, unhyped top-end with no shrill character at all. One issue that can arise is working in tiny venues with very low ceilings, where the mic’s rear side response can become unpredictable, but the wide front pattern was a great complement to both drum overheads and on percussion setups, with even coverage, sparkling transients and smooth off-axis response.
And in the End
Overall, I enjoyed the R-101. This mic provides 95 percent of that famed Royer sound at a price that’s less than two-thirds that of the R-121, which should go far in bringing high quality ribbon performance to a wide market of new users.
At a Glance
Rugged, Affordable Pro Ribbon Mic
Royer Labs’ R-101 Live Ribbon Microphone offers high-end ribbon mic performance in a tough roadworthy package that is less than two-thirds the price of its industry standard R-121 models.
PROS
- Smooth, mostly flat and natural response
- Suited to a wide variety of instruments
- High SPL handling
- Effective shock mount
CONS
- Susceptible to wind damage in extreme conditions
- Figure-8 pattern can be problematic in some situations
Royer R-101
STATS
- Design: Electrodynamic Pressure Gradient Ribbon
- Polar Pattern: Figure-8
- Frequency Response: 30 Hz to 15k Hz, (±3 dB)
- Sensitivity: -48 dB, 1V/Pa
- Impedance: 300 Ohms
- Price (Street): $799, including case and shock mount
- Manufacturer: Royer Labs
More Info: www.royerlabs.com
