FAQs

Under normal working conditions, phantom power will not damage a Royer ribbon. Phantom power is actually required for operation on our active R-122 and SF-24 microphones. The two exceptions are miswired cables and “live cross patching” on a patch bay. When a mic line is crossed-patched at the patch bay, there is a temporary short

Use a quality pop screen. Our PS-101 metal pop screens are excellent choices, but any quality pop filter will do. Nylon popper-stoppers and foam mic covers are pop filters. They often affect high frequencies. PS-101’s are pop screens and have no appreciable affect on high-frequency information – their screens simply redirect wind downward and away from the

The bass response of most ribbon microphones on guitar cabinets is much better than that of dynamic microphones. Traditional ribbon microphones will be damaged if you position them too close to an extremely loud guitar cabinet, but our R-series mics were designed to take high SPL’s and can handle close miking duties on a loud

Ribbon mics can be excellent for voiceover work. Their proximity effect gives the big bottom that VO artists love and their smoothness and lack of sibilance make the engineers happy. Due to their consistent off-axis response, ribbons are especially useful if the VO artist is moving around. As the artist moves, the pickup remains uniform

While most engineers automatically reach for a condenser mic for recording vocals, you can get excellent results from using the right ribbon microphone. Many of the great classic vocal performances were captured on ribbons. Ribbons are great for sibilance problems, singers with a harsh tone, or any time you want a little more color and

The SF-12 gives an excellent pickup of an audience in a live recording. A classic technique for recording an audience is to use several bi-directional microphones above the audience, each positioned so that their fronts face down toward the audience and their backs face the ceiling. The BBC has long used this method. The result