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Post by Ward on Aug 21, 2023 12:01:22 GMT -6
According to Royer the R10 has been designed to reduce proximity effect. The AEA N22 was also designed to reduce proximity effect and I hated mine. I don’t know if the R10 uses a similar design to the AEA N22 which used a perforated metal tube that covered the entire ribbon motor assembly. This not only reduced proximity effect but also seemed to provide some high boost around 10khz along with the reduced low end produced a rather thin anaemic tone nothing like a true ribbon. After I removed the tube (it just slid off) the mic was completely transformed and became a favourite. I suspect removing the tube basically converted the AEA N22 into an AEA R8. Maybe I've been using it wrong. I want ribbons to warm up sources like my m160 does on overheads. Based on this comment and also on how much Royer brags about SPL handling, maybe the idea is to take the R10 and just smoosh it right on the source. If the idea is a fig. 8 with minimal proximity effect I could see some use there. Maybe I'll just change my mindset and stop hoping this will be a "warming effect" mic and think of it as a more of a specialty type mic. Now we're getting somewhere. I don't know if it was completely hidden or only partially obvious from my original reply, but the R10 is one ribbon I just don't get on with. The R121? One of my ten most valued (for usability) mics. Been in almost constant use here since 2007 or so |
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Post by gravesnumber9 on Aug 21, 2023 12:16:13 GMT -6
Maybe I've been using it wrong. I want ribbons to warm up sources like my m160 does on overheads. Based on this comment and also on how much Royer brags about SPL handling, maybe the idea is to take the R10 and just smoosh it right on the source. If the idea is a fig. 8 with minimal proximity effect I could see some use there. Maybe I'll just change my mindset and stop hoping this will be a "warming effect" mic and think of it as a more of a specialty type mic. Now we're getting somewhere. I don't know if it was completely hidden or only partially obvious from my original reply, but the R10 is one ribbon I just don't get on with. The R121? One of my ten most valued (for usability) mics. Been in almost constant use here since 2007 or so No, I got that. It's not behaving like what I bought it for. Hence the reason for this thread to begin with. So far I just don't like it. But I am intrigued at least a little bit here. At first I was like "why do I want a transparent/bright ribbon?" But now I'm thinking "figure 8 without boost?" I already have an idea for where to try it. |
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Post by rowmat on Aug 21, 2023 19:31:01 GMT -6
Maybe I've been using it wrong. I want ribbons to warm up sources like my m160 does on overheads. Based on this comment and also on how much Royer brags about SPL handling, maybe the idea is to take the R10 and just smoosh it right on the source. If the idea is a fig. 8 with minimal proximity effect I could see some use there. Maybe I'll just change my mindset and stop hoping this will be a "warming effect" mic and think of it as a more of a specialty type mic. Now we're getting somewhere. I don't know if it was completely hidden or only partially obvious from my original reply, but the R10 is one ribbon I just don't get on with. The R121? One of my ten most valued (for usability) mics. Been in almost constant use here since 2007 or so With the AEA N22 you had to use it within about 4-8” from the source or the low end thinned out dramatically. Of course it was designed this way to allow close micing without excessive proximity. Seems like the R10 is similar. I also suspect the perforated acoustic tube that covered the ribbon motor assembly caused some comb filtering effect which results in some high end resonance that mechanically boosted the sound around 10khz. |
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Post by Ward on Aug 22, 2023 7:49:58 GMT -6
Now we're getting somewhere. I don't know if it was completely hidden or only partially obvious from my original reply, but the R10 is one ribbon I just don't get on with. The R121? One of my ten most valued (for usability) mics. Been in almost constant use here since 2007 or so With the AEA N22 you had to use it within about 4-8” from the source or the low end thinned out dramatically. Of course it was designed this way to allow close micing without excessive proximity. Seems like the R10 is similar. I also suspect the perforated acoustic tube that covered the ribbon motor assembly caused some comb filtering effect which results in some high end resonance that mechanically boosted the sound around 10khz. If only there were a neutral capturing ribbon mic with great reach that doesn't fizz out of futz up available from someone like... I dunno, maybe Samar? Also, the KU5 meets that requirement also. |
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Post by dpenn1000 on Jun 21, 2024 20:07:43 GMT -6
I have been the owner of a Royer R10 pair for two years, and I have to say that it is one of my favirite drum overhead mics of all time. For Jazz bands I typically setup an OH pair, with a Beyer 201 on snare compressed like crazy to bring the snare ghost notes and brush work forward, and a Telefunken M80 on Kick. The Sound is detailed, intimate, natural, and 3D but never overly hyped or too bright. They sound great on acoustic guitars and horns as long as the room sounds good. Do they sound just like a 121? No, but I don't own any mics to sound just like another mic. Just like any other ribbon, they aren't my first choice for everything bit they are wonderfull in the right application!
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Post by gravesnumber9 on Jun 21, 2024 20:23:14 GMT -6
I have been the owner of a Royer R10 pair for two years, and I have to say that it is one of my favirite drum overhead mics of all time. For Jazz bands I typically setup an OH pair, with a Beyer 201 on snare compressed like crazy to bring the snare ghost notes and brush work forward, and a Telefunken M80 on Kick. The Sound is detailed, intimate, natural, and 3D but never overly hyped or too bright. They sound great on acoustic guitars and horns as long as the room sounds good. Do they sound just like a 121? No, but I don't own any mics to sound just like another mic. Just like any other ribbon, they aren't my first choice for everything bit they are wonderfull in the right application! R10 has made a home on the underside of a kind of muffled sounding upright piano. Picks up the attack and brightens it without sounding brittle. |
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Post by Tbone81 on Jun 22, 2024 11:02:33 GMT -6
I never liked the R10. It doesn't have that royer sound IMHO. Nothing like an R121 at all. I was about to say the same. Judging by all the samples I’ve heard it seemed to fall flat next to the 121z |
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Post by Tbone81 on Jun 22, 2024 11:08:25 GMT -6
According to Royer the R10 has been designed to reduce proximity effect. The AEA N22 was also designed to reduce proximity effect and I hated mine. I don’t know if the R10 uses a similar design to the AEA N22 which used a perforated metal tube that covered the entire ribbon motor assembly. This not only reduced proximity effect but also seemed to provide some high boost around 10khz along with the reduced low end produced a rather thin anaemic tone nothing like a true ribbon. After I removed the tube (it just slid off) the mic was completely transformed and became a favourite. I suspect removing the tube basically converted the AEA N22 into an AEA R8. I had a pair of N22’s that I really wanted to like, but yeah it just felt like there was a weird, artificial high freq boost that I couldn’t get over. Ended up selling them. I thought about getting some N8’s instead but was a little soured on the active ribbon mic thing. |
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ericn
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Balance Engineer
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Post by ericn on Jun 22, 2024 11:36:00 GMT -6
With the AEA N22 you had to use it within about 4-8” from the source or the low end thinned out dramatically. Of course it was designed this way to allow close micing without excessive proximity. Seems like the R10 is similar. I also suspect the perforated acoustic tube that covered the ribbon motor assembly caused some comb filtering effect which results in some high end resonance that mechanically boosted the sound around 10khz. If only there were a neutral capturing ribbon mic with great reach that doesn't fizz out of futz up available from someone like... I dunno, maybe Samar? Also, the KU5 meets that requirement also. Your Fostex ribbon’s kind of fall into that camp, from memory of the M/S version. |
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Post by ragan on Jun 22, 2024 12:56:22 GMT -6
I've had this mic for a few years and just really never seem to find a good use for it. It's to the point where I'm like... is it supposed to sound this way? Maybe mine is a bad unit or something? I don't know. On overheads it sounds harsh where my m-160 sounds like butter and even the Monoprice LR100 sounds better... and that thing was so cheap I think Amazon paid me to take it off their hands if I recall. So it's not a Fig 8 thing is my point. Guitar cabs it works but doesn't do anything interesting (other than look cool) and the side rejection isn't much to speak of. Works fine on acoustic guitar but is still bright and that's not my taste for acoustic. Anyone else struggling with this mic? Anyone else love it? I'm kinda like.. what is the point of a bright ribbon? Shoutout to the Monoprice LR100 (but also shhhh). Those are awesome mics. If they become available again, I might buy a few more pairs. |
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Post by thehightenor on Jun 22, 2024 14:01:00 GMT -6
I wasn't that impressed with the 121.
Ended up buying an AEA R92 - I love that mic - it has a bright side and a dark side - reduced proximity effect.
Sounds great on vocals, percussion and I've yet to find another mic I prefer in front of a guitar cab.
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Post by russellcreekps on Jun 22, 2024 14:47:02 GMT -6
Yeah, I bought one from my local dealer, tried it for a week and returned it…just couldn’t love it. My main ribbon now is an R92, very happy with that from day 1. Still really want to try an R84 on acoustic.
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Post by doubledog on Jun 22, 2024 16:07:13 GMT -6
I've got an "NSonic NS-1" that is the same as a Nady RSM-3. It was the "offset" ribbon (so front and back are different) and I think was discontinued after lawsuits (from Royer). Got it many years ago. Had to retention the ribbon (terrible sag) but its been my favorite mic on guitar amp for many years. I still use it a lot even though it probably only cost me $100.
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