{"title":"Royer Labs","description":"","products":[{"product_id":"royer-labs-r10","title":"Royer Labs R10","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003eThe \u003cstrong\u003eRoyer Labs R-10\u003c\/strong\u003e is a hand-built in California, passive ribbon \u003ca href=\"https:\/\/wrdtunes.com\/collections\/microphones\"\u003estudio microphone\u003c\/a\u003e that combines the power of classic ribbon sound with unprecedented durability. It was specifically designed for professional applications in both critical recording studio environments and demanding live stage setups. Thanks to its flat frequency response, excellent phase linearity, and ability to handle extremely high sound pressure levels, this model is the absolute perfect choice for miking loud electric guitar cabinets, brass instruments, and drum kits.\u003c\/p\u003e\n\u003cp\u003eThe core component of this microphone is a 2.5-micron, ultra-thin pure aluminum ribbon element, safeguarded by a custom 3-layer windscreen system and an internally shock-mounted ribbon transducer. This robust design not only minimizes the negative impact of plosives and strong bursts of air but also effectively reduces the unwanted proximity effect on close-miking. Similar to Royer's more expensive models, it utilizes their patented offset ribbon technology, which effortlessly handles sound sources peaking up to an astonishing 160 dB at 1 kHz while maintaining crystal clear, distortion-free audio.\u003c\/p\u003e\n\u003cp\u003eDue to its completely passive electronic design (featuring no active internal preamps), the R-10 eliminates any potential for internal electronic overload or high-frequency phase distortion. It features a classic figure-8 (bi-directional) polar pattern, which captures sound equally from the front and back while offering immense sound rejection from the sides. A custom-designed impedance-matching transformer purposefully lowers its sensitivity compared to flagship models (like the R-121), providing massively increased headroom for close-miking very loud sources.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eIncredible SPL handling capabilities for close-miking loud sources (up to 160 dB @ 1 kHz)\u003c\/li\u003e\n\u003cli\u003eZero internal active electronics to overload or create distortion under high sound pressure\u003c\/li\u003e\n\u003cli\u003ePatented offset ribbon transducer utilizing a 2.5-micron pure aluminum element\u003c\/li\u003e\n\u003cli\u003eCustom 3-layer windscreen system providing superior protection against air blasts and plosives\u003c\/li\u003e\n\u003cli\u003eInternal shock mount mechanism isolating the delicate ribbon from physical vibrations\u003c\/li\u003e\n\u003cli\u003eTrue figure-8 polar pattern delivering equal sensitivity from both the front and rear\u003c\/li\u003e\n\u003cli\u003eRibbon element is completely unaffected by heat or high humidity levels\u003c\/li\u003e\n\u003cli\u003eCompact profile paired with a swivel mount for flexible and non-intrusive placement\u003c\/li\u003e\n\u003cli\u003eExceptional phase linearity providing an incredibly smooth and natural sonic signature\u003c\/li\u003e\n\u003cli\u003eHandcrafted in California by the ribbon microphone experts at Royer Labs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eTransducer Type: Passive Ribbon Microphone\u003c\/li\u003e\n\u003cli\u003ePolar Pattern: Figure-8 (Bi-Directional)\u003c\/li\u003e\n\u003cli\u003eGenerating Element: 2.5-micron pure aluminum ribbon\u003c\/li\u003e\n\u003cli\u003eMagnetic Assembly: Rare Earth Neodymium magnets\u003c\/li\u003e\n\u003cli\u003eFrequency Response: 30 Hz - 15 kHz (+\/- 3 dB)\u003c\/li\u003e\n\u003cli\u003eSensitivity: -54 dBv Ref. 1 V\/Pa\u003c\/li\u003e\n\u003cli\u003eOutput Impedance: 100 Ohms (nominal) balanced\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: \u0026gt; 135 dB (@ 50 Hz), 160 dB (@ 1 kHz)\u003c\/li\u003e\n\u003cli\u003eRecommended Load Impedance: 700 Ohms or greater\u003c\/li\u003e\n\u003cli\u003eConnector Type: Male XLR 3-pin\u003c\/li\u003e\n\u003cli\u003eDimensions (L x Diameter): 149 x 35 mm (5.8\" x 1.37\")\u003c\/li\u003e\n\u003cli\u003eWeight: 368 g (13 oz)\u003c\/li\u003e\n\u003cli\u003eIncluded Accessories: Swivel microphone mount, protective mic sock, and carrying case\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53259272749393,"sku":"48281","price":634.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR101.jpg?v=1773769339"},{"product_id":"royer-labs-r121","title":"Royer Labs R121","description":"\u003cdiv lang=\"en\"\u003e \u003cp\u003eThe \u003cstrong\u003eRoyer Labs R-121\u003c\/strong\u003e is a flagship \u003ca href=\"https:\/\/wrdtunes.com\/collections\/microphones\"\u003estudio microphone\u003c\/a\u003e that completely revolutionized the modern approach to ribbon mic recording. It was purposefully designed to withstand extremely high sound pressure levels (SPL) while maintaining the legendary, warm, and incredibly natural tone that classic ribbon designs are famous for. Thanks to its unmatched versatility, this model has become an absolute standard in premier recording studios worldwide, shining on electric guitar amps, brass instruments, drum rooms, and vocals alike.\u003c\/p\u003e \u003cp\u003eAt the heart of the microphone lies an ultra-thin, 2.5-micron pure aluminum ribbon, powered by potent rare-earth neodymium magnets. The implementation of Royer's patented offset ribbon transducer design allows the R-121 to effortlessly handle loud sound sources from the front (up to 135 dB) without risking damage to the element. Interestingly, the rear side of the microphone offers a slightly brighter response with a gentle top-end lift when used within proximity range (3 feet and closer), opening up entirely new sonic possibilities for recording engineers.\u003c\/p\u003e \u003cp\u003eDue to its passive architecture, the microphone contains no internal active electronics, which completely eliminates the risk of induced noise, overload, or distortion even at maximum signal levels. The lack of Phantom power requirements and the ribbon element's full immunity to heat and humidity make this model exceptionally durable and reliable. The R-121 boasts a figure-8 polar pattern, a flat frequency response, and an absolute absence of high-frequency phase distortion, guaranteeing flawless audio quality and striking realism.\u003c\/p\u003e \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e \u003cul\u003e \u003cli\u003eClassic, natural ribbon sound without the hyped high-end of condenser mics\u003c\/li\u003e \u003cli\u003eCapability to handle extremely high sound pressure levels (over 135 dB)\u003c\/li\u003e \u003cli\u003ePatented offset transducer assembly with a 2.5-micron pure aluminum ribbon\u003c\/li\u003e \u003cli\u003eNo internal active electronics to overload or produce distortion at high SPLs\u003c\/li\u003e \u003cli\u003eExtremely low residual noise for pristine audio capture\u003c\/li\u003e \u003cli\u003eRibbon element completely unaffected by adverse heat or humidity\u003c\/li\u003e \u003cli\u003eTotal absence of high-frequency phase distortion and ringing\u003c\/li\u003e \u003cli\u003eRear side of the mic offers a brighter tonal characteristic when close-miked\u003c\/li\u003e \u003cli\u003eEqual sensitivity from the front and back of the element (Figure-8 pattern)\u003c\/li\u003e \u003cli\u003eConsistent and reliable frequency response regardless of miking distance\u003c\/li\u003e \u003c\/ul\u003e \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e \u003cul\u003e \u003cli\u003eOperating Principle: Electrodynamic pressure gradient (Passive Ribbon)\u003c\/li\u003e \u003cli\u003ePolar Pattern: Figure-8 (Bi-Directional)\u003c\/li\u003e \u003cli\u003eGenerating Element: 2.5-micron pure aluminum ribbon\u003c\/li\u003e \u003cli\u003eMagnets: Rare Earth Neodymium\u003c\/li\u003e \u003cli\u003eFrequency Response: 30 Hz - 15 kHz (+\/- 3 dB)\u003c\/li\u003e \u003cli\u003eSensitivity: -50 dBv Re. 1 V\/Pa\u003c\/li\u003e \u003cli\u003eOutput Impedance: 300 Ohms @ 1 kHz (nominal)\u003c\/li\u003e \u003cli\u003eMaximum SPL: \u0026gt; 135 dB @ 20 Hz\u003c\/li\u003e \u003cli\u003eOutput Connector: Male XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e \u003cli\u003eDimensions (L x D): 158 x 25 mm\u003c\/li\u003e \u003cli\u003eWeight: 245 g\u003c\/li\u003e \u003c\/ul\u003e \u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53259274715473,"sku":"16962","price":1574.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR1211.jpg?v=1773769328"},{"product_id":"royer-labs-sm21-axemount","title":"Royer Labs SM21 AxeMount","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SM-21 AxeMount\u003c\/strong\u003e is a dual microphone mount designed specifically to simultaneously hold a Royer R-series ribbon microphone (R-121, R-122, R-122 MKII, R-122V) and a 57-style dynamic microphone on a single stand — without the need for two stands, two separate clips, and manual phase-checking between the microphones. The combination of a Royer ribbon and a 57-style dynamic is one of the most established electric guitar amplifier recording techniques in studio practice: the ribbon delivers full low end, natural midrange, and smooth top; the dynamic contributes attack and mid-range punch; blending both signals in varying proportions allows precise tonal shaping. The AxeMount eliminates the phase alignment problem inherent in independently positioned microphones.\u003c\/p\u003e\n\n  \u003ch3\u003ePhase alignment without measurement or trial and error\u003c\/h3\u003e\n  \u003cp\u003eWhen positioning two microphones on separate stands, any repositioning of either mic changes the inter-capsule delay — which at mono summation produces a shifting comb-filtering effect. The SM-21 solves this mechanically: both microphones are held in a fixed, pre-determined spatial geometry, and the mount includes positioning marks that guide placement of the SM57 capsule at the point where the speaker dome meets the cone paper (the classic starting position for the dynamic), while the R-121 sits on the dome — the position Royer recommends as the starting point for this combination. The clip accommodates cylindrical microphones of approximately 25 mm diameter in the side-address position (for the ribbon) and approximately 32 mm in the front-address position (for the dynamic). Moving both microphones from one speaker to another or to a different cabinet is as straightforward as moving a single mic stand. The AxeMount mounts on a standard microphone stand thread.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eDual microphone mount on a single stand — Royer ribbon + 57-style dynamic\u003c\/li\u003e\n    \u003cli\u003eFixed spatial geometry between capsules — phase alignment without measurement\u003c\/li\u003e\n    \u003cli\u003ePositioning marks for SM57 start point (dome-to-cone junction) and R-121 (dome)\u003c\/li\u003e\n    \u003cli\u003eCompatible with: Royer R-121, R-122, R-122 MKII, R-122V and SM57-style dynamic microphones\u003c\/li\u003e\n    \u003cli\u003eSide-address chamber diameter: approximately 25 mm (Royer ribbon)\u003c\/li\u003e\n    \u003cli\u003eFront-address chamber diameter: approximately 32 mm (SM57-style dynamic)\u003c\/li\u003e\n    \u003cli\u003eMoving both mics to a different cabinet — equivalent to repositioning a single stand\u003c\/li\u003e\n    \u003cli\u003eEliminates the need for two stands and two clips in the classic ribbon + dynamic guitar recording setup\u003c\/li\u003e\n    \u003cli\u003eSolid construction; Royer lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: dual microphone mount\u003c\/li\u003e\n    \u003cli\u003eIntended combination: Royer R-121 (R-122, R-122 MKII, R-122V) + 57-style dynamic microphone\u003c\/li\u003e\n    \u003cli\u003eSide-address chamber diameter: approximately 25 mm (ribbon microphone)\u003c\/li\u003e\n    \u003cli\u003eFront-address chamber diameter: approximately 32 mm (dynamic microphone)\u003c\/li\u003e\n    \u003cli\u003eMounting: standard microphone stand thread\u003c\/li\u003e\n    \u003cli\u003eWeight: approximately 170 g (6 oz)\u003c\/li\u003e\n    \u003cli\u003eWarranty: lifetime\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669832819025,"sku":"48287","price":58.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSM21AxeMount1.jpg?v=1778493741"},{"product_id":"royer-labs-ps101-pop-filter","title":"Royer Labs PS101 Pop Filter","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs PS-101\u003c\/strong\u003e is a metal pop filter with an adjustable gooseneck, manufactured for Royer by Stedman Corporation — the same company that developed and patents the Proscreen filter design. The fundamental difference between the PS-101 and conventional nylon mesh pop filters is the operating mechanism: the louvered metal screen does not diffuse or absorb plosive energy — it deflects the airflow downward, away from the microphone capsule. Sound passes through the large openings in the screen without interference or coloration. A nylon mesh filter always absorbs some acoustic energy in the process; the metal Proscreen does not. The PS-101 can be washed with soap and water and will remain functional for many years — which cannot be said of nylon mesh, which stretches and degrades over time.\u003c\/p\u003e\n\n  \u003ch3\u003eMetal louvers — deflection instead of diffusion\u003c\/h3\u003e\n  \u003cp\u003eThe key to the PS-101's operation is the patented expanded metal screen with angled louvers: when a vocalist produces a plosive consonant (P, B), the rapid burst of air strikes the angled louvers and is redirected downward, never reaching the microphone capsule. The vocal sound — as an acoustic wave rather than an airstream — passes through the open screen geometry without attenuation or tonal modification. The result is plosive protection with no loss in tonality, detail, or transient response — particularly important with Royer ribbon microphones, whose character is sensitive to any modification of the signal path upstream of the element. The 13-inch gooseneck with vinyl noise-reduction covering and a clamp with a nylon tip protecting the stand finish allow precise positioning at any source. Royer Labs has issued an official technical bulletin warning against counterfeit PS-101 units lacking the genuine angled louvers, which function no differently than a standard nylon filter.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eMetal pop filter with patented louvered expanded metal screen (Stedman Proscreen design)\u003c\/li\u003e\n    \u003cli\u003eDeflection mechanism — airflow directed downward, not diffused through mesh\u003c\/li\u003e\n    \u003cli\u003eSound passes through large openings without coloration, attenuation, or distortion\u003c\/li\u003e\n    \u003cli\u003eWashable with soap and water — multi-year durability without material degradation\u003c\/li\u003e\n    \u003cli\u003e13-inch (330 mm) adjustable gooseneck with vinyl covering that minimizes noise when repositioning\u003c\/li\u003e\n    \u003cli\u003eClamp with nylon tip — stand mounting without scratching finishes\u003c\/li\u003e\n    \u003cli\u003ePowder coating on screen and clamp — lifetime durability through studio sessions\u003c\/li\u003e\n    \u003cli\u003eParticularly recommended with Royer ribbon microphones where nylon filter coloration is undesirable\u003c\/li\u003e\n    \u003cli\u003eManufactured by Stedman Corporation (USA) for Royer Labs\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: metal pop filter with louvered expanded metal screen\u003c\/li\u003e\n    \u003cli\u003eScreen material: expanded metal with angled louvers (patented, Stedman)\u003c\/li\u003e\n    \u003cli\u003eScreen diameter: approximately 117 mm (4.6 inches)\u003c\/li\u003e\n    \u003cli\u003eGooseneck length: approximately 330 mm (13 inches)\u003c\/li\u003e\n    \u003cli\u003eTotal length: approximately 508 mm (20 inches)\u003c\/li\u003e\n    \u003cli\u003eWeight: approximately 164 g (5.8 oz)\u003c\/li\u003e\n    \u003cli\u003eClamp range: approximately 13–22 mm stand arm diameter\u003c\/li\u003e\n    \u003cli\u003eFinish: powder coating (screen and clamp); vinyl (gooseneck)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669832884561,"sku":"48286","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsPS101PopFilter.jpg?v=1778493727"},{"product_id":"royer-labs-db20-dbooster","title":"Royer Labs DB20 dBooster","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs dBooster (R-DB20)\u003c\/strong\u003e is a phantom-powered in-line microphone signal booster designed for use with passive ribbon and dynamic microphones of low sensitivity. The device performs two functions simultaneously: it amplifies the signal level by a switchable 12 or 20 dB, and it acts as an impedance buffer — a high input impedance (3.6 kOhm) minimizes loading (damping) on the transducer, while a low output impedance (300 ohms) allows the device to drive difficult loads such as microphone splitters, vintage-style preamps, and audio interfaces without level loss, increased distortion, or reduced headroom. The Class A input stage delivers gain without coloration or self-distortion. Built in the USA at Royer's Burbank facility.\u003c\/p\u003e\n\n  \u003ch3\u003eTwo gain settings and high input impedance\u003c\/h3\u003e\n  \u003cp\u003eThe problem with passive ribbon microphones in typical signal chains is not only insufficient preamp gain — equally common is impedance mismatch. Most preamps present input impedances below 1.5 kOhm, which for a passive ribbon means excessive damping, loss of low end, reduced sensitivity, and overall tonal degradation. The dBooster's 3.6 kOhm input presents the optimal load to the ribbon element, while its low-impedance output (300 ohms at the 20 dB setting) buffers the microphone from any downstream impedance variations at the preamp, splitter, or interface. The 20 dB setting is intended for quiet sources and ambient recording with low-sensitivity ribbons such as the R-121, R-10, or SF-12; the 12 dB setting handles louder sources (electric guitar, vocals) where an additional 20 dB risks overloading the preamp input. Switching gain settings produces a pop — change at reduced signal level. The low-impedance output also drives long cable runs and difficult loads without signal degradation.\u003c\/p\u003e\n\n  \u003ch3\u003eElectrical isolation and phantom power operation\u003c\/h3\u003e\n  \u003cp\u003eThe dBooster provides complete electrical isolation between its input and output stages — protecting the ribbon element from phantom power present in the downstream signal chain and eliminating damage risk from miswired cables. Power comes exclusively from 48V phantom on the output side (console, preamp, interface); the microphone input side remains free of voltage. The device is equally effective with high-output-impedance, low-sensitivity dynamic microphones (SM7, RE20, and similar), passive DI boxes with piezoelectric transducers, and in setups requiring long cable runs on the output side. Self-noise is below 11 dBa at the 20 dB setting and below 15 dBa at the 12 dB setting, referenced to -48 dB re. 1V\/Pa. THD+N is 0.0015% at 20 dB and 0.001% at 12 dB.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eIn-line microphone signal booster and impedance buffer, phantom 48V powered\u003c\/li\u003e\n    \u003cli\u003eSwitchable gain: 12 dB or 20 dB (front panel switch)\u003c\/li\u003e\n    \u003cli\u003eClass A input stage — gain without coloration or self-distortion\u003c\/li\u003e\n    \u003cli\u003eHigh input impedance: 3.6 kOhm — minimizes transducer loading and damping\u003c\/li\u003e\n    \u003cli\u003eLow output impedance: 300 ohms — drives splitters, vintage preamps, audio interfaces\u003c\/li\u003e\n    \u003cli\u003eFull electrical isolation — protects ribbon element from downstream phantom power\u003c\/li\u003e\n    \u003cli\u003eHeadroom: 127 dB (20 dB gain) \/ 120 dB (12 dB gain) — ref. -48 dB re. 1V\/Pa and 4 mV\/Pa\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 11 dBa (20 dB) \/ below 15 dBa (12 dB)\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0015% (20 dB) \/ 0.001% (12 dB)\u003c\/li\u003e\n    \u003cli\u003eIM Distortion: below 0.002% @ 800 mV output (20 dB) \/ below 0.005% @ 2.6V output (12 dB)\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 20 Hz – 20 kHz +\/- 0.25 dB\u003c\/li\u003e\n    \u003cli\u003eOutput can drive an audio interface or mic preamp directly\u003c\/li\u003e\n    \u003cli\u003eWorks with: Royer R-121, R-10, SF-12, and other passive ribbons; SM7, RE20, and other dynamics; passive DI with piezo transducers\u003c\/li\u003e\n    \u003cli\u003eBuilt in the USA (Burbank, California)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: in-line microphone signal booster \/ impedance buffer\u003c\/li\u003e\n    \u003cli\u003eGain: 12 dB or 20 dB (switchable)\u003c\/li\u003e\n    \u003cli\u003eInput stage: Class A\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 3.6 kOhm\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms (20 dB setting)\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0015% @ 20 dB (-25 dBu input, 1.3 Vp-p output) \/ 0.001% @ 12 dB (-6 dBu input, 3.66 Vp-p output)\u003c\/li\u003e\n    \u003cli\u003eIM Distortion: below 0.002% @ 800 mV output (20 dB) \/ below 0.005% @ 2.6V output (12 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 11 dBa (20 dB) \/ below 15 dBa (12 dB) — ref. -48 dB re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eHeadroom: 127 dB (20 dB gain) \/ 120 dB (12 dB gain) — ref. -48 dB re. 1V\/Pa and 4 mV\/Pa\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 20 Hz – 20 kHz +\/- 0.25 dB\u003c\/li\u003e\n    \u003cli\u003eConnections: balanced XLR (Pin 1 Ground, Pin 2 Signal Hot, Pin 3 Signal Cold)\u003c\/li\u003e\n    \u003cli\u003ePower: 48V phantom\u003c\/li\u003e\n    \u003cli\u003eCurrent draw: approximately 5 mA (zero signal) \/ 7.5 mA (full output)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 92 mm (L) x 51 mm (W) x 41 mm (H)\u003c\/li\u003e\n    \u003cli\u003eWeight: 170 g (6 oz)\u003c\/li\u003e\n    \u003cli\u003eWarranty: 1 year\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669832917329,"sku":"48285","price":225.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsDB20dBooster1.jpg?v=1778493714"},{"product_id":"royer-labs-rsm-ss1","title":"Royer Labs RSM-SS1","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs RSM-SS1\u003c\/strong\u003e is a patented Sling-Shock suspension shockmount (Patent #8,571,250) — the smallest model in the line, designed for microphones approximately 25 mm (1 inch) in diameter, with a tolerance of +\/- 1\/8 inch. Dedicated for Royer's 1-inch diameter ribbon microphones: R-121, R-122 MKII, R-122V, and SF-12, as well as other cylindrical microphones of similar diameter. The RSM-SS1 is the first and most widely used model in the Sling-Shock series — the natural partner for the R-121 and R-122 in both studio and live stage environments. Like all Sling-Shock models, it completely eliminates rubber and elastic suspension elements, replacing them with a system of non-resonant nylon cord and damped steel springs. Hand-built from aircraft-grade aluminum at Royer's Burbank, California facility.\u003c\/p\u003e\n\n  \u003ch3\u003eNylon and springs instead of rubber — isolation without material degradation\u003c\/h3\u003e\n  \u003cp\u003eConventional shockmounts rely on elastic bands or rubber supports that degrade over time, lose tension, and require periodic replacement — with loose mic retention creating fall risk in the process. The RSM-SS1 addresses this at the design level: the nylon-and-damped-steel-spring suspension does not age, requires no maintenance, and needs no replacement parts. Isolation covers vibrations transmitted through the stand (appearing as rumble and broadband low-frequency disturbances), physical shocks, and mount self-resonance — the last problem being particularly relevant when close-miking electric guitar amplifiers at high power, where mechanical resonance of the mount introduces harmonic intermodulation artifacts at various frequencies into the recording. A built-in cable clip with a strain-relief loop reduces additional vibrations conducted through the microphone cable into the mic body. The adjustable grip with a knurled lock-down knob allows precise positioning and secure retention; the chamber interior is lined with felt or soft cotton to protect the microphone's finish.\u003c\/p\u003e\n\n  \u003ch3\u003eCompatibility and position in the line\u003c\/h3\u003e\n  \u003cp\u003eThe RSM-SS1 accommodates cylindrical microphones approximately 25 mm (1 inch) in diameter, +\/- 1\/8 inch. Dedicated Royer models: R-121, R-122 MKII, R-122V, SF-12. It also fits other cylindrical microphones of similar diameter — including pencil condensers and dynamic microphones in standard 1-inch housings. The shockmount is compatible with standard microphone stands (European stand adapter included). The RSM-SS1 is the smallest of the three Sling-Shock models (RSM-SS1: 1\"; RSM-SS24: 1.5\"; RSM-SS251: 2\"). Unconditional lifetime warranty.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eSling-Shock suspension shockmount (Patent #8,571,250) — no rubber, no elastic bands, no synthetic bushings\u003c\/li\u003e\n    \u003cli\u003eSuspension: non-resonant nylon cord + damped steel springs — durability without material degradation\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber: approximately 25 mm (1 inch) in diameter (+\/- 1\/8 inch)\u003c\/li\u003e\n    \u003cli\u003eChamber lining: felt\/soft cotton — finish protection, secure non-slip retention\u003c\/li\u003e\n    \u003cli\u003eKnurled lock-down knob — stable mic position with precise adjustment capability\u003c\/li\u003e\n    \u003cli\u003eBuilt-in cable clip with strain-relief loop — reduces vibrations conducted through the microphone cable\u003c\/li\u003e\n    \u003cli\u003eIsolation from stand vibrations, physical shocks, and mount self-resonance\u003c\/li\u003e\n    \u003cli\u003eEliminates mount resonance artifacts in high-SPL close-miking applications\u003c\/li\u003e\n    \u003cli\u003eDedicated for: Royer R-121, R-122 MKII, R-122V, SF-12\u003c\/li\u003e\n    \u003cli\u003eAlso fits: other cylindrical microphones approximately 1 inch in diameter (+\/- 1\/8 inch)\u003c\/li\u003e\n    \u003cli\u003eSmallest model in the Sling-Shock line (RSM-SS1: 1\"; RSM-SS24: 1.5\"; RSM-SS251: 2\")\u003c\/li\u003e\n    \u003cli\u003eHand-built from aircraft-grade aluminum in Burbank, California\u003c\/li\u003e\n    \u003cli\u003eUnconditional lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: Sling-Shock suspension shockmount\u003c\/li\u003e\n    \u003cli\u003ePatent: #8,571,250\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber diameter: approximately 25 mm (1 inch) +\/- 1\/8 inch\u003c\/li\u003e\n    \u003cli\u003eSuspension elements: non-resonant nylon cord + damped steel springs\u003c\/li\u003e\n    \u003cli\u003eChamber lining: felt \/ soft cotton (finish protection)\u003c\/li\u003e\n    \u003cli\u003eCable clip: built-in with strain-relief loop\u003c\/li\u003e\n    \u003cli\u003eLocking mechanism: knurled lock-down knob\u003c\/li\u003e\n    \u003cli\u003eDimensions: approximately 102 x 102 x 102 mm (4\" x 4\" x 4\")\u003c\/li\u003e\n    \u003cli\u003eMaterial: aircraft-grade aluminum\u003c\/li\u003e\n    \u003cli\u003eCompatible Royer models: R-121, R-122 MKII, R-122V, SF-12\u003c\/li\u003e\n    \u003cli\u003eWarranty: unconditional lifetime\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833015633,"sku":"48284","price":305.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsRSM-SS11.jpg?v=1778493702"},{"product_id":"royer-labs-rsm-ss24","title":"Royer Labs RSM-SS24","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs RSM-SS24\u003c\/strong\u003e is a patented Sling-Shock suspension shockmount designed for microphones approximately 38 mm (1.5 inches) in diameter, with a tolerance of +\/- 1\/8 inch — including the Royer SF-2, SF-24, and SF-24V, and other cylindrical microphones of similar size. The RSM-SS24 is the mid-size model in Royer's Sling-Shock line: the smaller RSM-SS1 handles 1-inch diameter microphones (Royer R-121, R-122, SF-12), and the larger RSM-SS251 accommodates 2-inch diameter microphones (Telefunken ELAM 251, Neumann U-67, U-87). Like all Sling-Shock models, the RSM-SS24 completely eliminates rubber and elastic suspension elements — replaced by a system of non-resonant nylon cord and damped steel springs. Hand-built from aircraft-grade aluminum at Royer's Burbank, California facility.\u003c\/p\u003e\n\n  \u003ch3\u003eNylon and springs instead of rubber — isolation without material degradation\u003c\/h3\u003e\n  \u003cp\u003eConventional shockmounts rely on elastic bands or rubber supports that degrade over time, lose tension, and require replacement — with loose mic retention creating fall risk in the process. The RSM-SS24 addresses this at the design level: the nylon-and-damped-steel-spring suspension does not age, requires no maintenance, and needs no replacement parts. Isolation covers vibrations transmitted through the stand (appearing as rumble and broadband disturbances), physical shocks, and mount self-resonance — the last problem being particularly relevant in high-SPL applications, where mechanical resonance of the mount itself can introduce intermodulation artifacts into the recording. A built-in cable clip reduces additional vibrations conducted through the microphone cable. The adjustable grip with a knurled lock-down knob allows secure, precisely positioned retention; the chamber interior is lined with felt or soft cotton to protect the microphone's finish.\u003c\/p\u003e\n\n  \u003ch3\u003eCompatibility and position in the line\u003c\/h3\u003e\n  \u003cp\u003eThe RSM-SS24 accommodates cylindrical microphones approximately 38 mm (1.5 inches) in diameter, +\/- 1\/8 inch. Dedicated Royer models: SF-2, SF-24, SF-24V. The Royer R-10 can also be mounted in the RSM-SS24 after removal from its threaded swivel mount. The shockmount fits other microphones of similar cylindrical diameter as well. The RSM-SS24 is compatible with standard microphone stands (European stand adapter included where applicable). Unconditional lifetime warranty.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eSling-Shock suspension shockmount — no rubber, no elastic bands, no synthetic bushings\u003c\/li\u003e\n    \u003cli\u003eSuspension: non-resonant nylon cord + damped steel springs — durability without material degradation\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber: approximately 38 mm (1.5 inches) in diameter (+\/- 1\/8 inch)\u003c\/li\u003e\n    \u003cli\u003eChamber lining: felt\/soft cotton — finish protection, secure non-slip retention\u003c\/li\u003e\n    \u003cli\u003eKnurled lock-down knob — stable mic position with precise adjustment capability\u003c\/li\u003e\n    \u003cli\u003eBuilt-in cable clip — reduces vibrations conducted through the microphone cable\u003c\/li\u003e\n    \u003cli\u003eIsolation from stand vibrations, physical shocks, and mount self-resonance\u003c\/li\u003e\n    \u003cli\u003eDedicated for: Royer SF-2, SF-24, SF-24V\u003c\/li\u003e\n    \u003cli\u003eAlso fits: Royer R-10 (after removal from threaded swivel mount) and other 1.5-inch cylindrical mics\u003c\/li\u003e\n    \u003cli\u003eMid-size model in the Sling-Shock line (RSM-SS1: 1\", RSM-SS24: 1.5\", RSM-SS251: 2\")\u003c\/li\u003e\n    \u003cli\u003eHand-built from aircraft-grade aluminum in Burbank, California\u003c\/li\u003e\n    \u003cli\u003eUnconditional lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: Sling-Shock suspension shockmount\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber diameter: approximately 38 mm (1.5 inches) +\/- 1\/8 inch\u003c\/li\u003e\n    \u003cli\u003eSuspension elements: non-resonant nylon cord + damped steel springs\u003c\/li\u003e\n    \u003cli\u003eChamber lining: felt \/ soft cotton (finish protection)\u003c\/li\u003e\n    \u003cli\u003eCable clip: built-in\u003c\/li\u003e\n    \u003cli\u003eLocking mechanism: knurled lock-down knob\u003c\/li\u003e\n    \u003cli\u003eDimensions: approximately 127 x 152 x 102 mm (5\" x 6\" x 4\")\u003c\/li\u003e\n    \u003cli\u003eMaterial: aircraft-grade aluminum\u003c\/li\u003e\n    \u003cli\u003eCompatible Royer models: SF-2, SF-24, SF-24V (R-10 after removal from threaded swivel mount)\u003c\/li\u003e\n    \u003cli\u003eWarranty: unconditional lifetime\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833212241,"sku":"48283","price":445.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsRSM-SS241.jpg?v=1778493869"},{"product_id":"royer-labs-rsm-ss251","title":"Royer Labs RSM-SS251","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs RSM-SS251\u003c\/strong\u003e is a patented Sling-Shock suspension shockmount (Patent #8,571,250) designed for microphones approximately 50 mm (2 inches) in diameter — including studio classics such as the Telefunken ELAM 251\/251E, Neumann U-67, Neumann U-87, and other similarly sized microphones. The RSM-SS251 is the largest model in Royer's Sling-Shock line; the smaller RSM-SS1 handles 1-inch diameter microphones (Royer R-121, R-122, SF-12), and the RSM-SS24 is designed for approximately 1.5-inch diameter microphones (Royer SF-2, SF-24, SF-24V). The defining feature of all Sling-Shock models is the complete elimination of rubber and elastic components — replaced by a system of non-resonant nylon cord and damped steel springs.\u003c\/p\u003e\n\n  \u003ch3\u003eNylon and springs instead of rubber — isolation without material degradation\u003c\/h3\u003e\n  \u003cp\u003eConventional shockmounts rely on elastic bands or rubber supports that lose tension, stretch, or crack over time — leading to loose mic retention, risk of falls, and the need for periodic parts replacement. The RSM-SS251 addresses this at the design level: the suspension system built on non-resonant nylon cord and damped steel springs does not age, does not lose its isolation properties, and requires no replacement parts. Isolation covers vibrations transmitted through the stand, physical shocks, and self-resonance of the mount itself — the last point is particularly relevant in high-SPL applications such as close-miking electric guitar, where conventional mounts can resonate and introduce artifacts into the recording. A built-in cable clip reduces additional vibrations conducted through the microphone cable into the mic body. The microphone chamber interior is felt-lined, protecting the microphone's finish and providing a snug, non-slip fit.\u003c\/p\u003e\n\n  \u003ch3\u003eCompatibility and construction\u003c\/h3\u003e\n  \u003cp\u003eThe RSM-SS251's chamber accommodates microphones of approximately 50 mm (2 inches) in diameter. Compatible microphones include: Telefunken ELAM 251 and 251E (original and new), Neumann U-67, Neumann U-87, Bock Audio 251, Peluso 22 251, Audio-Technica AT 4047\/SV, AT4060, Miktek CV3, Mojave Audio MA-1000, MA-200, MA-201fet, MA-300, MA-300fet, and other similarly sized microphones. Note that typical Neumann U-47 style microphones are too wide for this mount. The adjustable grip allows quick installation and removal while maintaining flexible positioning even in tight spaces. The RSM-SS251 is built to Royer's standard of solid construction and carries a lifetime warranty.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePatented Sling-Shock system (Patent #8,571,250) — no rubber parts, no elastic bands\u003c\/li\u003e\n    \u003cli\u003eSuspension: non-resonant nylon cord + damped steel springs — isolation without material aging\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber: approximately 50 mm (2 inches) in diameter\u003c\/li\u003e\n    \u003cli\u003eFelt-lined chamber interior — finish protection, secure non-slip retention\u003c\/li\u003e\n    \u003cli\u003eBuilt-in cable clip — reduces vibrations conducted through the microphone cable\u003c\/li\u003e\n    \u003cli\u003eIsolation from stand vibrations, physical shocks, and mount self-resonance\u003c\/li\u003e\n    \u003cli\u003eEliminates mount resonance artifacts in high-SPL applications\u003c\/li\u003e\n    \u003cli\u003eAdjustable grip — flexible positioning in tight spaces\u003c\/li\u003e\n    \u003cli\u003eCompatible with: Telefunken ELAM 251\/251E, Neumann U-67, Neumann U-87, Audio-Technica AT4047\/SV, AT4060, Mojave Audio MA-200, MA-201fet, MA-300, MA-300fet, and similar\u003c\/li\u003e\n    \u003cli\u003eLargest model in the Sling-Shock line (RSM-SS1: 1\", RSM-SS24: 1.5\", RSM-SS251: 2\")\u003c\/li\u003e\n    \u003cli\u003eSolid Royer construction; lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: Sling-Shock suspension shockmount\u003c\/li\u003e\n    \u003cli\u003ePatent: #8,571,250\u003c\/li\u003e\n    \u003cli\u003eMicrophone chamber diameter: approximately 50 mm (2 inches)\u003c\/li\u003e\n    \u003cli\u003eSuspension elements: non-resonant nylon cord + damped steel springs\u003c\/li\u003e\n    \u003cli\u003eChamber lining: felt (finish protection, secure retention)\u003c\/li\u003e\n    \u003cli\u003eCable clip: built-in\u003c\/li\u003e\n    \u003cli\u003eDimensions: approximately 110 x 110 x 110 mm\u003c\/li\u003e\n    \u003cli\u003eWarranty: lifetime\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833245009,"sku":"48282","price":412.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsRSM-SS251.jpg?v=1778493665"},{"product_id":"royer-labs-r10-matched-pair","title":"Royer Labs R10 Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-10 Matched Pair\u003c\/strong\u003e consists of two factory-matched passive ribbon microphones — the accessible entry point to Royer's R-series, retaining the core technologies of the flagship models: the same 2.5-micron aluminum ribbon element as the R-121, the patented offset ribbon design, and construction suitable for both studio and live stage use. Three features distinguish the R-10 from other models in the line: a built-in three-layer windscreen, an internal transducer shockmount on silicon rubber grommets, and humbucking wiring around the transducer that cancels electromagnetically induced noise — making it the most physically rugged ribbon in the Royer catalog. The custom transformer designed by David Royer specifically for this microphone is deliberately 5 dB less sensitive than the R-121, which translates directly into 160 dB @ 1 kHz of headroom.\u003c\/p\u003e\n\n  \u003ch3\u003eThree ribbon protection technologies — construction without compromise\u003c\/h3\u003e\n  \u003cp\u003eThe three-layer built-in windscreen limits air blasts and plosives and reduces proximity effect when close-miking guitars and acoustic instruments — vocal recording without a separate pop screen is feasible. The internal silicon rubber grommet shockmount isolates the ribbon element from vibrations transmitted through the stand and floor, which is particularly relevant in live stage environments. Humbucking wiring around the transducer cancels electromagnetically induced noise — valuable when miking guitar amplifiers with large mains transformers radiating strong magnetic fields. The cylindrical body with open grille design minimizes standing waves and comb-filtering effects associated with diffraction. The 2.5-micron ribbon is formed using Royer's patented direct-corrugation process, making it more resistant to stretching and sagging than traditional long-ribbon designs. The patented offset ribbon placement (Patent #6,434,252) gives the rear side a slightly brighter response at approximately three feet and closer (phase reversed).\u003c\/p\u003e\n\n  \u003ch3\u003eMatched pair — stereo at an accessible price point\u003c\/h3\u003e\n  \u003cp\u003eFactory matching eliminates the need to calibrate levels between channels in ORTF, X-Y, or drum overhead configurations. Output impedance of 100 ohms is lower than the R-121's 300 ohms — a result of the new transformer design — which allows the R-10 to drive longer cable runs. Sensitivity of -54 dBv requires a preamp with adequate gain; the R-10 pairs well with inline signal boosters. Applications: electric guitar, brass, drum overheads and rooms, strings, acoustic guitar, vocals, ambient capture. Five-year warranty; first ribbon replacement free within the first year of ownership.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-10 microphones — same 2.5-micron aluminum ribbon as in R-121\u003c\/li\u003e\n    \u003cli\u003eThree-layer built-in windscreen — protection against air blasts, plosives, and proximity buildup\u003c\/li\u003e\n    \u003cli\u003eInternal transducer shockmount on silicon rubber grommets\u003c\/li\u003e\n    \u003cli\u003eHumbucking wiring — cancels electromagnetically induced noise\u003c\/li\u003e\n    \u003cli\u003e2.5-micron ribbon formed with Royer's patented direct-corrugation process\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eDavid Royer custom transformer — minimizes saturation at extreme SPLs\u003c\/li\u003e\n    \u003cli\u003eDeliberately reduced sensitivity (-54 dBv) = 160 dB @ 1 kHz headroom\u003c\/li\u003e\n    \u003cli\u003eOpen grille cylindrical body — minimizes standing waves and comb-filtering\u003c\/li\u003e\n    \u003cli\u003ePassive construction — no active electronics, no internal overload point\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: bleed control, ambient capture, drum overheads\u003c\/li\u003e\n    \u003cli\u003eNeodymium Grade 52 magnets\u003c\/li\u003e\n    \u003cli\u003eCompact cylindrical body — flexible positioning in tight spaces\u003c\/li\u003e\n    \u003cli\u003eFive-year warranty; first ribbon replacement free within the first year\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (direct-corrugation process)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium Grade 52\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -54 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 100 ohms\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: 700 ohms or greater\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 50 Hz; 160 dB @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003eDimensions (including mounting base): 149 mm (L) x 35 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 368 g (13 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eWarranty: five years; first ribbon replacement free within first year\u003c\/li\u003e\n    \u003cli\u003eIncludes: 2x R-10 microphone, 2x RM-10 adjustable swivel mount, 2x mic sock, carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833310545,"sku":"48280","price":1315.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR10MatchedPair1.jpg?v=1778493646"},{"product_id":"royer-labs-r121-live","title":"Royer Labs R121 Live","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-121 Live\u003c\/strong\u003e is a passive monaural ribbon microphone built for stage use — the single-unit version of the ruggedized R-121, functionally identical to the studio R-121 with one key difference: the aluminum ribbon element is 4 microns thick instead of 2.5 microns. The thicker ribbon handles the mechanical stresses of nightly touring without any compromise in sonic character; its only side effect is a slightly attenuated high-frequency response — which on stage is an advantage, reducing the need to cut harsh top end on electric guitars and brass at the FOH console. The R-121 Live was introduced in 2008 and won the TEC Award in the Microphone Technology\/Sound Reinforcement category that same year. It is visually identified by a red logo badge.\u003c\/p\u003e\n\n  \u003ch3\u003e4-micron ribbon for nightly stage use\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) — shared across the entire R-series — positions the ribbon element closer to the front (logo) side of the housing. The ribbon has greater room to deflect rearward within the prime magnetic field under high-SPL conditions, allowing direct placement in front of full-power guitar amplifiers without distortion or ribbon damage. Maximum SPL from the front is 135 dB @ 20 Hz. Rear-side recording should not exceed 115 dB SPL — at the back of the microphone, the ribbon deflects toward the closer front damping screen, which can cause noise or ribbon damage at high levels. The R-121 Live naturally eliminates the aggressive, sizzling high-frequency content typical of electric guitars and brass in live environments, arriving at the FOH console ready for the mix with far less corrective EQ needed. The absence of active electronics means there is no internal overload point; the only component in the signal path is the miniature impedance-matching transformer.\u003c\/p\u003e\n\n  \u003ch3\u003eFigure-eight pattern and bleed control on stage\u003c\/h3\u003e\n  \u003cp\u003eThe figure-eight pattern with strong side rejection at the mic's ears and top\/bottom null points enables effective bleed control: orienting the ears toward monitors or adjacent instruments virtually eliminates pickup from those directions. The rear side captures a slightly brighter response at approximately three feet and closer (phase reversed) — two distinct tonal characters from one microphone. Sensitivity of -50 dBv is at dynamic microphone levels — the R-121 Live requires a preamp with sufficient gain, which distinguishes it from the active R-122 MKII Live. The ribbon element is protected from phantom power, miswired cables, and electrical transients by the isolating transformer. Lifetime warranty to the original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive ribbon microphone optimized for stage use\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed at FOH on guitars and brass\u003c\/li\u003e\n    \u003cli\u003eNo active electronics — no internal overload point up to maximum SPL\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz; rear side: max 115 dB\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003eEar positioning eliminates bleed from monitors and adjacent instruments\u003c\/li\u003e\n    \u003cli\u003ePhase-linear response — no high-frequency phase shift\u003c\/li\u003e\n    \u003cli\u003eTransformer isolation from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eRare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003e2008 TEC Award — Microphone Technology\/Sound Reinforcement\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio R-121 by red logo badge\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -50 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1,500 ohms minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (rear): 115 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 156 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 244 g (8.6 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-121 Live microphone, mic clip, wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833376081,"sku":"48279","price":1720.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR121Live.jpg?v=1778493634"},{"product_id":"royer-labs-r122-mkii-live","title":"Royer Labs R122 mkII Live","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII Live\u003c\/strong\u003e is a phantom-powered active ribbon microphone optimized for stage use — the single-unit version of the R-122 MKII Live Matched Pair. It differs from the studio R-122 MKII in one key respect: the aluminum ribbon element is 4 microns thick instead of 2.5 microns, giving it greater mechanical durability for nightly touring use. The thicker ribbon also produces a slightly attenuated high-frequency response — which on stage is an advantage, reducing the need to cut harsh top end on guitars and brass at the FOH console. Active electronics deliver the same -36 dB sensitivity as the studio MKII. The Live variant is visually identified by a red logo badge.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter pre-signal\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains constant, optimal impedance loading on the ribbon element regardless of the FOH console's preamp input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no noise of its own; self-noise remains below 18 dB. The -15 dB pad is positioned before the microphone's electronics, meaning that at high SPLs the signal is attenuated before reaching any active component, eliminating the risk of microphone distortion and console input overload. The switchable high-pass filter operates at 100 Hz with a 6 dB per octave slope, controlling proximity effect on close-miked guitars and suppressing low-frequency rumble. Both switches are recessed into the body and fully removed from the signal path when disengaged. The 200-ohm output impedance supports long stage cable runs without HF loss or RF interference.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and patented offset ribbon\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than passive ribbon designs — producing tighter low end and a sense of more open highs, making the R-122 MKII Live a strong choice for live drum overheads and horn sections. The naturally rolled-off high end of the 4-micron ribbon means less corrective EQ on guitars and brass at the FOH position. The patented offset ribbon design (Patent #6,434,252) positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at approximately three feet and closer (phase reversed). The figure-eight pattern with strong side rejection enables effective bleed control on stage. Lifetime warranty to the original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed at FOH on guitars and brass\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches recessed and fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eFaster transient response — drum overheads, brass sections on stage\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eFigure-eight pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long stage cable runs without HF loss or RF interference\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio version by red logo badge\u003c\/li\u003e\n    \u003cli\u003eRare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-122 MKII Live microphone, wooden case, mic sock\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833408849,"sku":"48278","price":2111.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122mkII1_a2a7358e-0667-4c7e-a9c7-4886bb56e992.jpg?v=1778493858"},{"product_id":"royer-labs-sf12","title":"Royer Labs SF12","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-12\u003c\/strong\u003e is a passive stereo coincident ribbon microphone — two matched 1.8-micron aluminum ribbon elements mounted one above the other in a true Blumlein configuration (crossed figure-eights, 45 degrees off center) within a single ingot iron body. The SF-12 is fully passive: the absence of any active electronics eliminates any internal overload point, maintaining full frequency response all the way to the maximum SPL rating of above 130 dB. Each of the two transducers uses a proprietary crossfield motor assembly: four Neodymium magnets with Permendur iron pole pieces minimize the front-to-rear acoustic path length, extending the high-frequency ceiling without artificial boost. The ingot iron body forms part of the magnetic return circuit, actively containing stray flux — the source of the microphone's relatively high sensitivity for such a compact package. The SF-12 design originates with Bob Speiden; Royer produces it with upgraded toroidal transformers, a lower-mass ribbon, and improved transducer mechanics.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor and ingot iron body — the physics behind the SF-12's sound\u003c\/h3\u003e\n  \u003cp\u003eA stereo ribbon setup built from two separate microphones — on a stereo bar or in separate housings — always introduces a small but measurable spacing between capsules. The SF-12 is genuinely coincident: both elements occupy the same acoustic point, eliminating inter-channel time-of-arrival differences and producing stereo imaging that collapses to mono without artifacts. The crossfield motor in each transducer — four Neodymium magnets with Permendur pole pieces — shortens the front-to-rear acoustic path to the minimum achievable, directly extending the high-frequency response while maintaining the flat characteristic of a well-designed ribbon. The 1.8-micron ribbons, each weighing approximately one-third of a milligram, deliver transient response comparable to a condenser microphone. Negligible off-axis coloration means the SF-12 maintains consistent character regardless of the angle of incoming sound — critical when miking wide sections or ensembles where sources span a broad horizontal arc.\u003c\/p\u003e\n\n  \u003ch3\u003eRecording configurations and mono operation\u003c\/h3\u003e\n  \u003cp\u003eThe SF-12 supports two configurations from a single mic position: classic Blumlein and M\/S — the latter requiring only matrix processing in the console or DAW, enabling post-session stereo width adjustment without moving the microphone. The lower element corresponds to the left channel and the upper to the right, referenced from behind the microphone. Phase compatibility between the two channels is complete — summing to mono creates no artifacts. Either element can be used independently as a standalone mono figure-eight microphone. As a passive design, the SF-12 requires a high-gain, high-input-impedance preamplifier; its sensitivity of above -52 dBv is at passive ribbon levels, which distinguishes it clearly from the active SF-24. The extension cable terminates in a Y-splitter to two 3-pin XLR connectors labeled Upper and Lower. Applications: drum overheads (jazz, rock, classical), orchestra and choir, piano, acoustic guitar, ensembles, voice-over, ambient capture. Lifetime warranty; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive stereo coincident ribbon microphone in Blumlein configuration\u003c\/li\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbon elements (99.99% Al), each ~1\/3 mg — fast transient response\u003c\/li\u003e\n    \u003cli\u003eCrossfield motor per transducer: 4x Neodymium magnets + Permendur pole pieces — short acoustic path, HF extension\u003c\/li\u003e\n    \u003cli\u003eIngot iron body as part of magnetic return circuit — low stray flux, high relative sensitivity\u003c\/li\u003e\n    \u003cli\u003eNo active electronics — no internal overload point up to maximum SPL\u003c\/li\u003e\n    \u003cli\u003eTrue coincidence: both elements at the same acoustic point — perfect mono compatibility\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eEach channel usable independently as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eNo audible diffraction effects or cavity resonance\u003c\/li\u003e\n    \u003cli\u003eHigh-efficiency matching toroidal transformers; very low magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eRibbon elements unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eExtension cable with Y-splitter (XLR5 → 2x XLR3), labeled Upper and Lower\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: symmetrical figure-8 (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces per transducer\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: above -52 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 5-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 369 g (13 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black Chrome; optional Dull Satin Nickel\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-12 microphone, extension cable with Y-splitter (XLR5 → 2x XLR3), wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833441617,"sku":"48277","price":2747.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF121.jpg?v=1778493581"},{"product_id":"royer-labs-r122v","title":"Royer Labs R122V","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V\u003c\/strong\u003e is a monaural vacuum tube ribbon microphone with a dedicated external power supply — the pinnacle of Royer's R-Series line and the world's first commercially produced active vacuum tube ribbon microphone. The R-122V uses the same ribbon transducer assembly as the R-121 and R-122 — 2.5-micron aluminum ribbon (99.99%) with patented offset placement (Patent #6,434,252) and Neodymium magnets — but replaces the FET active circuit with a JAN military-specification 5840W vacuum tube in triode cathode follower configuration, coupled to a Jensen output transformer housed in the external power supply. Chronologically, the R-122V predates the R-122: research into the tube circuit was a prerequisite for developing the specialized toroidal transformer that later went into the phantom-powered FET R-122.\u003c\/p\u003e\n\n  \u003ch3\u003eJAN 5840W tube — headroom and transparency without coloration\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration is specifically designed to eliminate typical tube harmonic coloration — the R-122V is built for transparency, not for character. The higher output level comes entirely from Royer's custom toroidal step-up transformer (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. The high plate voltage (135 VDC) delivers headroom far beyond what a phantom power supply can provide — this translates directly into the ability to capture high-SPL sources without compression or distortion artifacts. The Jensen output transformer in the power supply provides galvanic isolation and output balancing, virtually eliminating induced noise on long cable runs. The triode cathode follower configuration is inherently resistant to HF loss over extended cable lengths — a practical advantage in orchestral and film scoring environments where the microphone-to-console distance is often considerable.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon and applications\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) positions the ribbon closer to the front of the housing for higher SPL handling from the logo side and ribbon protection at maximum excursion. The rear side captures a slightly brighter response at approximately three feet and closer (phase reversed) — two distinct tonal characters from a single microphone. Active tube electronics maintain constant, optimal impedance loading on the ribbon regardless of the downstream preamp's input characteristics. Applications: electric guitar, brass, drum overheads and rooms, strings, woodwinds, piano, acoustic guitar, vocals; in classical recording as a spot microphone or in Decca Tree configurations; at distances of two to six feet from condenser spots, R-122Vs add dimensionality, warmth, and size to the recording. Lifetime warranty to original owner; 10-year tube warranty; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercially produced active vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eSame ribbon transducer as R-121 and R-122: 2.5-micron ribbon (99.99% Al), Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W pentode in triode cathode follower configuration\u003c\/li\u003e\n    \u003cli\u003eHigh plate voltage headroom (135 VDC) — unavailable from phantom power\u003c\/li\u003e\n    \u003cli\u003eSensitivity -36 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformer, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen output transformer in PSU: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eTriode cathode follower: long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm balanced output\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003eDedicated external power supply (135 VDC plate \/ 6 VDC filament)\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty; 10-year tube warranty; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003eMicrophone output connector: XLR 7-pin\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-122V microphone, dedicated power supply, 7-pin cable, RSM-1 shockmount, mic sock, wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833474385,"sku":"48276","price":3381.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122V1.jpg?v=1778493566"},{"product_id":"royer-labs-r122v-matched-pair","title":"Royer Labs R122V Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V Matched Pair\u003c\/strong\u003e consists of two hand-matched vacuum tube ribbon microphones — the pinnacle of Royer's R-Series line and the world's first commercially produced active vacuum tube ribbon microphone. Each pair is hand-selected for sensitivity matching within 0.5 dB and frequency response within +\/-1 dB. The R-122V uses the same ribbon transducer assembly as the R-121 and R-122 — 2.5-micron aluminum ribbon with patented offset placement (Patent #6,434,252) and Neodymium magnets — but replaces the FET active circuit with a JAN military-specification 5840W vacuum tube in triode cathode follower configuration, coupled to a Jensen output transformer. The high plate voltage of the tube supply (135 VDC) provides headroom far beyond what phantom power can deliver.\u003c\/p\u003e\n\n  \u003ch3\u003eJAN 5840W and Jensen — tube architecture without tube coloration\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration is specifically designed to eliminate typical tube harmonic coloration — this is a circuit built for transparency, not character. The higher output level comes entirely from Royer's custom-wound toroidal step-up transformer (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. The Jensen output transformer housed in the external power supply provides galvanic isolation and balanced output, virtually eliminating induced noise on long cable runs. The triode cathode follower configuration is inherently resistant to HF loss on extended cable runs — a practical advantage in orchestral and live recording environments where the distance from microphone to console can be substantial. Active tube electronics maintain constant, optimal impedance loading on the ribbon element regardless of the downstream preamp's input characteristics.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon and precision-matched stereo pair\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) — shared across the entire R-series — positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side and ribbon protection at maximum excursion. The rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position) — two distinct tonal characters from one transducer. Precision factory matching eliminates the need to calibrate levels or compensate for tonal differences between channels in ORTF, X-Y, or Decca Tree configurations. Applications: electric guitar, brass, drum overheads and rooms, strings, woodwinds, piano, acoustic guitar, vocals, classical and orchestral recording. Each pair is supplied with two power supplies, two locking 25-foot cable assemblies, two RSM-1 shockmounts, and two protective wooden cases. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo hand-matched R-122V microphones: sensitivity within 0.5 dB, frequency response within +\/-1 dB\u003c\/li\u003e\n    \u003cli\u003eWorld's first commercially produced active vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eSame ribbon transducer as R-121 and R-122: 2.5-micron ribbon, Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W pentode in triode cathode follower configuration\u003c\/li\u003e\n    \u003cli\u003eHigh plate voltage headroom (135 VDC) — unavailable from phantom power\u003c\/li\u003e\n    \u003cli\u003eSensitivity -36 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformer, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen output transformer in PSU: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eTriode cathode follower: long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm balanced output\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: 2x R-122V, 2x dedicated power supply, 2x locking 25-ft cable assembly, 2x RSM-1 shockmount, 2x wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833572689,"sku":"48275","price":8809.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122VMatchedPair1.jpg?v=1778493550"},{"product_id":"royer-labs-r122-mkii","title":"Royer Labs R122 mkII","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII\u003c\/strong\u003e is a phantom-powered active ribbon microphone — the updated version of the original R-122 from 2002, the world's first phantom-powered active ribbon microphone. The MKII preserves the complete architecture of its predecessor and adds two switchable circuits: a -15 dB pad and a bass-cut filter. Both are fully removed from the signal path when disengaged, meaning that with both switches off, the microphone is functionally identical to the original R-122. Active electronics deliver -36 dB sensitivity, placing the R-122 MKII on par with studio condenser microphones, with self-noise below 18 dB. Hand-wired and assembled at Royer's facility in Burbank, California.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — three levels of control\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains a constant, optimal impedance load on the ribbon element regardless of the downstream preamp's input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no noise of its own. The -15 dB pad is positioned before the microphone's electronics: at high SPLs, the signal is attenuated before reaching any active component, eliminating the possibility of distortion in the microphone or at the preamp input. With the pad engaged, the R-122 MKII's output is 2 dB lower than the passive R-121. The switchable high-pass filter operates at 100 Hz with a 6 dB per octave slope, providing proximity effect control and rumble suppression. Both switches are recessed into the body to prevent accidental activation.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and patented offset ribbon\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than conventional passive ribbon designs — producing tighter, more controlled low end and a sense of more open highs. Engineers frequently reach for the R-122 MKII over the R-121 for drum overheads, acoustic instruments, strings, and vocals precisely for this reason; the R-121 is sometimes preferred for electric guitars and brass where a less open top end is an advantage. The patented offset ribbon design (Patent #6,434,252) positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position). The 200-ohm output impedance supports long cable runs without signal loss. Lifetime warranty to the original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches recessed and fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eFaster transient response than R-121 — drum overheads, acoustic instruments, strings, vocals\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminum ribbon (99.99% Al); rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eHand-wired and assembled in Burbank, California\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Burnished Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-122 MKII microphone, wooden case, mic sock\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833605457,"sku":"45602","price":1973.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122mkII1.jpg?v=1778493844"},{"product_id":"royer-labs-sf24v","title":"Royer Labs SF24V","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-24V\u003c\/strong\u003e is a stereo vacuum tube ribbon microphone — the pinnacle of Royer's SF series and the world's first commercially produced stereo ribbon microphone with tube electronics. Two matched 1.8-micron aluminum ribbon elements are mounted one above the other in a true coincident Blumlein configuration (crossed figure-eights, 45 degrees off axis), each driven through an independent tube circuit derived from the same electronics as Royer's TEC Award-winning mono R-122V. The tubes are JAN military-specification 5840W pentodes wired in triode configuration as cathode followers, burned in at the Royer factory before shipment. Output signals are transformer-coupled and galvanically isolated via Jensen transformers housed in the dedicated external power supply, which also contains the plate supply (135 VDC) and filament supply (6 VDC) sections.\u003c\/p\u003e\n\n  \u003ch3\u003eTube electronics — headroom, detail, and air\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration eliminates typical tube coloration while retaining the advantages of thermionic technology: greater headroom and faster transient response compared to the FET-based SF-24. The higher output level comes entirely from the internal toroidal step-up transformers (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. Jensen transformers in the power supply provide galvanic isolation and output balancing, virtually eliminating induced noise on long cable runs. Active tube electronics maintain a constant, optimal impedance load on both ribbon elements regardless of the downstream preamp's input characteristics — the SF-24V works with any professional preamplifier without impedance matching concerns or overload risk. Output impedance is 450 ohms — higher than the FET SF-24's 200 ohms, a result of the transformer-coupled output stage.\u003c\/p\u003e\n\n  \u003ch3\u003eStereo configurations and mono operation\u003c\/h3\u003e\n  \u003cp\u003eThe Blumlein configuration — two figure-eights at 90 degrees — provides true single-point stereo capture with no inter-channel time-of-arrival delay to correct. Alternatively, the SF-24V operates in M\/S configuration with standard matrix processing in the console or DAW. Phase compatibility between the two channels is complete — stereo-to-mono summing produces no artifacts, which makes the microphone viable as a wide mono source when capturing performers with unstable positioning relative to a single-axis microphone. Each channel can be used independently as a standalone mono figure-eight microphone. The SF-24V ships with a dedicated external power supply, a 7-pin XLR cable, shockmount, and a handcrafted Padauk wood presentation case. Lifetime warranty to the original owner.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercially produced stereo vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbons in Blumlein configuration (figure-eights, 45° off axis)\u003c\/li\u003e\n    \u003cli\u003eTwo independent tube circuits: JAN mil-spec 5840W pentode wired in triode configuration\u003c\/li\u003e\n    \u003cli\u003eTubes burned in at Royer factory before shipment\u003c\/li\u003e\n    \u003cli\u003eTube electronics derived from TEC Award-winning R-122V\u003c\/li\u003e\n    \u003cli\u003eGreater headroom and faster transient response than FET SF-24\u003c\/li\u003e\n    \u003cli\u003eSensitivity -38 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformers, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen transformers in power supply: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eFull phase compatibility — stereo-to-mono summing without artifacts\u003c\/li\u003e\n    \u003cli\u003eEach channel independently usable as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected from phantom power, electrical transients, and miswired cables\u003c\/li\u003e\n    \u003cli\u003eDedicated external power supply (135 VDC plate \/ 6 VDC filament)\u003c\/li\u003e\n    \u003cli\u003eHandcrafted Padauk wood presentation case; lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: crossed figure-eights (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 450 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: 1,500 ohms or greater\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eMicrophone output connector: XLR 7-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003ePower supply output connectors: 2x XLR 3-pin\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eSupply current: 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 270 mm x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 583 g (20.5 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Optical Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-24V microphone, dedicated power supply, 7-pin XLR cable, shockmount, Padauk wood case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833638225,"sku":"28596","price":6169.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF24V1.jpg?v=1778493523"},{"product_id":"royer-labs-sf2-matched-pair","title":"Royer Labs SF2 Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-2 Matched Pair\u003c\/strong\u003e consists of two factory-matched SF-2 active ribbon microphones selected for identical sensitivity and frequency response, assembled as a stereo set for classical recording, scoring, and acoustic instrument applications. Factory matching is critical in stereo configurations — ORTF, X-Y, wide ambient overhead — where any mismatch between the two microphones directly affects stereo imaging accuracy and channel balance. The technical specification is fully identical to the single SF-2: crossfield motor assembly with four Neodymium magnets and Permendur pole pieces, 1.8-micron aluminum ribbon, active electronics at -38 dB sensitivity, and self-noise below 18 dB. Twenty SF-2 prototypes circulated across major studios and scoring stages for years before commercial release, establishing the model's reputation in classical and film recording circles before it ever appeared in a catalog.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor and active electronics — two defining factors\u003c\/h3\u003e\n  \u003cp\u003eThe proprietary crossfield motor minimizes the front-to-rear acoustic path length inside the capsule: four Neodymium magnets surrounding the ribbon with Permendur iron pole pieces reduce this path to the shortest possible distance, enabling a flat response across 30 Hz – 15 kHz +\/- 2 dB without artificial high-frequency boost. This distinguishes the SF-2 from most ribbon microphones in the same price bracket, where the upper frequency limit is often a practical constraint, not a design achievement. The 1.8-micron aluminum ribbon's low mass delivers fast transient response — audible and measurable on strings, woodwinds, piano, and percussion. Active electronics — a hand-wired FET circuit with a custom toroidal transformer — provide 14 dB of free gain with no added noise and maintain constant optimal impedance loading on the ribbon regardless of what preamp follows in the chain. The 200-ohm output supports long cable runs without HF degradation.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched pair — stereo and M\/S without level adjustment\u003c\/h3\u003e\n  \u003cp\u003eFactory matching eliminates the need to calibrate levels or correct tonal character between channels when setting up stereo configurations. The symmetrical figure-eight pattern makes each microphone usable as the Side element in an M\/S array, where sensitivity matching between Mid and Side has a direct impact on stereo width after matrixing. The SF-2 operates as a complete, self-sufficient microphone — requiring no high-gain specialist preamp and no impedance matching considerations from the console. The ribbon element is fully protected against phantom power, miswired cables, and electrical transients. Primary applications: choir and orchestra, classical piano, strings, woodwinds, harp, acoustic guitar and other plucked instruments, voice-over, ambient miking, room recording. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched SF-2 microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003eProprietary crossfield motor: 4x Neodymium magnets + Permendur pole pieces — minimal acoustic path, maximum HF extension\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — low mass, fast transient response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003e14 dB free gain from toroidal transformer — zero added noise from active circuit\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eSymmetrical figure-eight — each microphone usable as Side element in M\/S\u003c\/li\u003e\n    \u003cli\u003eStainless steel body with internal baffle and damper; low external magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eGold-plated XLR output connectors\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot), gold-plated\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom, 4 mA per microphone\u003c\/li\u003e\n    \u003cli\u003eDimensions: 142 mm (L) x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 448 g (15.8 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: two SF-2 microphones, SFS-2 shockmounts, mic socks, aluminum carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833670993,"sku":"28595","price":5385.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF2MatchedPair1.jpg?v=1778493508"},{"product_id":"royer-labs-sf2","title":"Royer Labs SF2","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-2\u003c\/strong\u003e is a compact, monaural, phantom-powered active ribbon microphone — the active successor to the passive SF-1, designed primarily for classical recording, scoring stages, and acoustic instruments. At the core of the microphone is a proprietary crossfield motor assembly: four Neodymium magnets with Permendur iron pole pieces arranged in a geometry that minimizes the front-to-rear acoustic path length inside the capsule, which directly extends the high-frequency ceiling of the design. The 1.8-micron aluminum ribbon element's low mass delivers fast transient response. Twenty SF-2 prototypes circulated in major studios and scoring stages for years prior to the microphone's commercial release, establishing its reputation in classical and orchestral recording circles before the product ever appeared in a catalog. Active electronics deliver -38 dB sensitivity, placing the SF-2 on par with phantom-powered condenser microphones.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor assembly — architecture built for high-frequency extension\u003c\/h3\u003e\n  \u003cp\u003eIn a conventional ribbon motor, the ribbon is suspended between two pole pieces and the front-to-rear acoustic path length constrains high-frequency response. The SF-2's crossfield motor solves this differently: four Neodymium magnets surrounding the ribbon with Permendur iron pole pieces minimize the effective acoustic path to the shortest possible distance, allowing a flat frequency response across 30 Hz – 15 kHz +\/- 2 dB without artificial high-frequency boost. The 1.8-micron ribbon's low mass produces fast transient response — audible on strings, woodwinds, and percussion. The stainless steel body forms part of the magnetic return circuit, actively containing stray flux, which matters when the microphone is positioned near other sensitive equipment on a recording session.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics and preamp independence\u003c\/h3\u003e\n  \u003cp\u003eThe SF-2's active electronics — identical in architecture to the R-122 and SF-24 — consist of a custom toroidal step-up transformer delivering 14 dB of free gain, followed by an active impedance conversion stage operating below unity gain and contributing no noise of its own. Self-noise is below 18 dB. The circuit maintains constant, optimal impedance loading on the ribbon element regardless of the downstream preamp's input characteristics — the SF-2 performs equally with a broadcast console and a studio tube preamplifier. The 200-ohm output impedance supports long cable runs without HF loss. The ribbon element is fully protected against phantom power, miswired cables, and electrical transients. Primary applications: choir and orchestra, classical piano, strings, woodwinds, harp, acoustic guitar, mandolin, ambient miking, voice-over. The symmetrical figure-eight pattern enables use as the Side microphone in an M\/S array. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eCompact, monaural active ribbon microphone, phantom powered\u003c\/li\u003e\n    \u003cli\u003eProprietary crossfield motor: 4x Neodymium magnets + Permendur pole pieces — minimal acoustic path, maximum HF extension\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — low mass, fast transient response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003e14 dB free gain from toroidal transformer — zero added noise from active circuit\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eSymmetrical figure-eight — usable as Side microphone in M\/S configurations\u003c\/li\u003e\n    \u003cli\u003eStainless steel body with internal baffle and damper; low external magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eGold-plated XLR output connector\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot), gold-plated\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 142 mm (L) x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 448 g (15.8 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-2 microphone, SFS-2 shockmount, mic sock, aluminum carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833736529,"sku":"28594","price":2630.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF21.jpg?v=1778493492"},{"product_id":"royer-labs-r122-mkii-live-matched-pair","title":"Royer Labs R122 MKII Live Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII Live Matched Pair\u003c\/strong\u003e consists of two factory-matched R-122 MKII Live active ribbon microphones — the road-optimized variant of the studio R-122 MKII, built for FOH and monitor engineers who need condenser-level output, daily touring durability, and direct SPL and low-end control at the microphone itself. The single difference from the studio version is the ribbon element: 4 microns instead of 2.5 microns — more resistant to road abuse, with a slightly attenuated high-frequency response that on stage translates to less corrective EQ work on guitars and brass. Active electronics deliver the same -36 dB sensitivity as the studio MKII. The Live variant is identified by a red logo badge.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — regardless of stage SPL\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains constant, optimal impedance loading on the ribbon element irrespective of the FOH console's preamp input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no additional noise. The -15 dB pad is positioned before the microphone's electronics, meaning that at high SPLs the signal is attenuated before reaching any active component, eliminating the risk of microphone distortion and console input overload. The switchable bass-cut filter operates at 100 Hz with a 6 dB per octave slope, controlling proximity effect buildup on close-miked guitars and suppressing low-frequency rumble. Both switches are recessed into the body and fully removed from the signal path when disengaged. The 200-ohm output impedance supports long stage cable runs without HF loss or RF interference.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and matched pair on stage\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than passive ribbon designs — producing tighter, more controlled low end and a sense of more open highs, making the R-122 MKII Live the go-to choice for live drum overheads, horn sections, and acoustic instruments on stage. The patented offset ribbon design (Patent #6,434,252) positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position). The figure-eight pattern, with strong side and top\/bottom rejection, allows effective bleed control — orienting the ears toward monitors or adjacent instruments virtually eliminates pickup from those directions. Each MP set is factory-matched. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-122 MKII Live microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches recessed and fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed at FOH on guitars and brass\u003c\/li\u003e\n    \u003cli\u003eFaster transient response — drum overheads, brass sections, acoustic instruments on stage\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eFigure-eight pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long stage cable runs without HF loss or RF interference\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio version by red logo badge\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-122 MKII Live microphones, wooden case, mic socks\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833769297,"sku":"28590","price":4040.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122MKIIMatchedPair1_dbd2dca5-f9bb-4b0f-903c-2573a50bfd2a.jpg?v=1778493481"},{"product_id":"royer-labs-r122-mkii-matched-pair","title":"Royer Labs R122 MKII Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII Matched Pair\u003c\/strong\u003e consists of two factory-matched R-122 MKII active ribbon microphones — built on the foundation of the original R-122 from 2002, which was the world's first phantom-powered active ribbon microphone. The MKII preserves the complete architecture of its predecessor and adds two switchable circuits: a -15 dB pad and a bass-cut filter. Both are fully removed from the signal path when disengaged, meaning that with both switches off, the microphone is functionally identical to the original R-122. Active electronics deliver a sensitivity of -36 dB, placing the R-122 MKII on par with studio condenser microphones, with self-noise below 18 dB.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — three levels of control\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains a constant, optimal impedance load on the ribbon element regardless of the downstream preamp's input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no noise of its own. The -15 dB pad is positioned before the microphone's electronics, not after — which means that at high SPLs, the signal is attenuated before it reaches any active component, eliminating the possibility of distortion in the microphone or at the preamp input. With the pad engaged, the R-122 MKII's output is 2 dB lower than the passive R-121. The switchable bass-cut filter operates at 100 Hz with a 6 dB per octave slope, providing smooth proximity effect reduction for close-miking and effective rumble suppression. Both switches are recessed into the body to prevent accidental activation.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and matched stereo pair\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than conventional passive ribbon designs — the result is a tighter, more controlled low end and a sense of more open highs, making the R-122 MKII the first-call option over the R-121 for drum overheads, acoustic instruments, strings, and vocals. The patented offset ribbon design (Patent #6,434,252) — identical to the R-121 — positions the ribbon closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at distances of approximately three feet and closer (phase reversed in this position). Each R-122 MKII MP set is factory-matched for sensitivity and frequency response, enabling precise stereo configurations. The 200-ohm output impedance supports long cable runs without HF loss or signal degradation. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-122 MKII microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eFaster transient response than R-121 — preferred for drum overheads, acoustic sources, strings\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminum ribbon (99.99% Al); rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Burnished Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-122 MKII microphones, wooden case, mic socks\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833802065,"sku":"28589","price":4039.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR122MKIIMatchedPair1.jpg?v=1778493470"},{"product_id":"royer-labs-r121-live-matched-pair","title":"Royer Labs R121 Live Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-121 Live Matched Pair\u003c\/strong\u003e consists of two factory-matched R-121 Live ribbon microphones — the ruggedized live-sound variant of Royer's flagship R-121, built specifically for FOH and monitor engineers who want ribbon character on stage without compromising durability through nightly touring. The defining difference from the studio version is a 4-micron aluminum ribbon element instead of 2.5 microns: more resistant to road abuse, with a slightly reduced high-frequency response — which in a live context is a practical advantage, as it reduces the need to cut harsh top end at the console. The R-121 Live is visually identified by a red logo badge. The Live Series won the 2008 TEC Award in the Microphone Technology\/Sound Reinforcement category.\u003c\/p\u003e\n\n  \u003ch3\u003e4-micron ribbon and nightly stage use\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) — shared across all Royer R-series models — positions the ribbon element closer to the front (logo) side of the housing. The ribbon has greater room to deflect rearward within the prime magnetic field under high-SPL conditions, allowing direct placement in front of full-power guitar amplifiers without distortion or ribbon damage. Maximum SPL from the front is 135 dB @ 20 Hz; rear-side recording should not exceed 115 dB SPL, as the ribbon moves toward the closer front damping screen when driven from the rear. The R-121 Live naturally rolls off the aggressive, sizzling high-frequency content typical of electric guitars and brass in live environments, arriving at the console with far less need for corrective EQ. The figure-eight pattern, with its strong side and top\/bottom rejection, allows effective bleed control: orienting the microphone's ears toward monitors or adjacent instruments virtually eliminates pickup from those directions.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched pair — stereo and multi-mic stage configurations\u003c\/h3\u003e\n  \u003cp\u003eEach R-121 Live MP set is factory-matched for sensitivity and frequency response, enabling ORTF, X-Y, or wide overhead stereo configurations with confidence that both microphones behave identically — no level trimming or tonal correction required between channels. Phase linearity across the frequency range guarantees clean mono summing without comb-filtering artifacts, essential in live PA environments where mono compatibility is non-negotiable. The R-121 Live contains no active electronics: the only component in the signal path beyond the ribbon and magnet assembly is a miniature impedance-matching transformer, which also shields the ribbon from phantom power, electrical transients, and miswired cables. Lifetime warranty to the original owner; first ribbon replacement is free of charge.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-121 Live microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed on guitars and brass at FOH\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL handling front, ribbon protection at excursion limits\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz; rear side: max 115 dB SPL\u003c\/li\u003e\n    \u003cli\u003eFully passive construction — no active electronics, no internal overload point\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003ePhase-linear response — clean stereo-to-mono summing\u003c\/li\u003e\n    \u003cli\u003eTransformer-isolated from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio R-121 by red logo badge\u003c\/li\u003e\n    \u003cli\u003e2008 TEC Award — Microphone Technology\/Sound Reinforcement\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -50 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (rear): 115 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 156 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 244 g (8.6 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-121 Live microphones, mic clips, wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833834833,"sku":"28588","price":3508.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR121LiveMatchedPair1.jpg?v=1778493457"},{"product_id":"royer-labs-r121-matched-pair","title":"Royer Labs R121 Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-121 Matched Pair\u003c\/strong\u003e consists of two R-121 ribbon microphones factory-selected and paired on the basis of matched sensitivity and frequency response. The R-121 was introduced in 1998 as the first radically reengineered modern ribbon microphone and remains Royer's flagship model — the industry benchmark for recording electric guitars, brass, drums, and a broad range of acoustic sources. Royer Labs' Grammy Award formally recognizes the R-121's place in the history of recording technology.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon — two sonic characters in one body\u003c\/h3\u003e\n  \u003cp\u003eA 2.5-micron, 99.99% pure aluminum ribbon element is positioned asymmetrically closer to the front (logo) side of the housing — Patent #6,434,252. This arrangement has two practical consequences: first, the ribbon has greater room to deflect rearward within the prime magnetic field under high-SPL conditions, allowing full-frequency response without distortion or ribbon damage directly in front of cranked amplifiers and brass instruments; second, at distances of approximately three feet and closer, the rear side of the microphone captures a noticeably brighter response than the front — effectively two distinct tonal characters from one transducer. The front delivers deep, well-balanced low end, defined mids, and a smooth, non-sibilant top. The rear is the better choice for acoustic guitar, vocals, and softer sources that benefit from added clarity and air.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched Pair — stereo consistency and configuration options\u003c\/h3\u003e\n  \u003cp\u003eEach R-121 MP set is factory-matched for sensitivity and frequency response, enabling ORTF, X-Y, Blumlein, or wide ambient stereo configurations with the confidence that both microphones behave identically. The figure-eight polar pattern provides natural separation and bleed control in multi-instrument tracking environments. Phase linearity — no high-frequency phase shift — simplifies mono summing without comb filtering artifacts. The R-121 contains no active electronics: no FET or tube stages that can overload internally; the only component in the signal path beyond the ribbon and magnet assembly is a miniature impedance-matching transformer. Lifetime warranty to the original owner; first ribbon replacement is free of charge.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-121 microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e2.5-micron, 99.99% pure aluminum ribbon; rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — higher SPL handling front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL 135 dB @ 30 Hz — direct placement in front of high-wattage amplifiers\u003c\/li\u003e\n    \u003cli\u003eFully passive construction — no active electronics, no internal overload point\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: natural separation, bleed control, ambient and orchestral use\u003c\/li\u003e\n    \u003cli\u003ePhase-linear response — no high-frequency phase shift, clean mono summing\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eTransformer-isolated from phantom power and miswired cables\u003c\/li\u003e\n    \u003cli\u003eCompact, lightweight body (244 g per microphone)\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n    \u003cli\u003eApplications: electric guitar amps, brass, drum overheads and rooms, strings, choirs, orchestras, ambience\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -47 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin\u003c\/li\u003e\n    \u003cli\u003eDimensions: 155.7 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 244 g (8.6 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-121 microphones, mic clips, carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833867601,"sku":"28587","price":3546.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR121MatchedPair1.jpg?v=1778493441"},{"product_id":"royer-labs-sf24","title":"Royer Labs SF24","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-24\u003c\/strong\u003e is a phantom-powered active stereo ribbon microphone — a direct counterpart to the passive SF-12, with Royer's proprietary Active Ribbon electronics built in. Two matched 1.8-micron aluminum ribbon transducers are mounted one above the other in a true coincident Blumlein configuration, each aimed 45 degrees off center, delivering a single-point stereo capture with crossed figure-eight patterns. Ultra-low noise FET circuits and custom-wound toroidal transformers provide a sensitivity of -38 dB, placing the SF-24 on par with phantom-powered condenser microphones. Royer Labs is a Grammy Award recipient, recognized for their contributions to ribbon microphone technology.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics eliminate the preamp problem\u003c\/h3\u003e\n  \u003cp\u003ePassive ribbon microphones require 15–30 dB more gain than condensers and are sensitive to preamp input impedance — improper loading results in loss of low end, diminished body, and reduced sensitivity. The SF-24 resolves both issues at the source: two fully balanced, discrete head amplifier systems per capsule maintain a constant, optimal load on each ribbon element regardless of what follows in the chain. The higher output level is not the result of an amplification stage — the active circuit operates below unity gain, with the increased sensitivity coming entirely from the high-efficiency toroidal transformers (free gain). Self-noise remains below 18 dB, unchanged despite the higher output. The low-impedance output (200 ohms) allows for very long cable runs without high-frequency loss, and the ribbon elements are fully protected against phantom power, miswired cables, and electrical transients.\u003c\/p\u003e\n\n  \u003ch3\u003eRecording configurations and applications\u003c\/h3\u003e\n  \u003cp\u003eThe SF-24 supports two coincident stereo techniques from a single mic position: classic Blumlein (two figure-eights at 90 degrees) and M\/S — requiring only matrix processing in the console or DAW. Each channel can be used independently as a standalone mono figure-eight microphone; phase compatibility between the two channels is complete, allowing stereo-to-mono summing without artifacts. Off-axis coloration is negligible — frequency response stays consistent regardless of the angle of the incoming sound. Primary applications include full orchestra and choral recording, classical piano, drum overheads, acoustic instruments of any kind, vocal ensembles, and room ambience capture. The microphone ships with an extension cable terminating in a Y-splitter to two standard 3-pin XLR connectors, labeled Upper and Lower for the respective capsules.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbons in Blumlein configuration (crossed figure-eights, 45° off axis)\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — on par with phantom-powered condenser microphones\u003c\/li\u003e\n    \u003cli\u003eTwo discrete head amplifier systems with high-efficiency toroidal transformers (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — no increase despite higher sensitivity\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output impedance — suitable for long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected against phantom power, electrical transients, and miswired cables\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eEach channel usable independently as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eFull phase compatibility — stereo summing to mono without artifacts\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent frequency response regardless of angle\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL above 130 dB with no distortion\u003c\/li\u003e\n    \u003cli\u003ePower: 48V phantom only, 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eIncludes: extension cable with Y-splitter (XLR5 to 2x XLR3), Sling-Shock shockmount\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: crossed figure-eights (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 40–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: male XLR 5-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eDimensions: 270 mm x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 583 g (20.5 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Optical Black; optional 18K Gold\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53669833965905,"sku":"26876","price":4157.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF241.jpg?v=1778493429"},{"product_id":"royer-labs-sf-12","title":"Royer Labs SF-12","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-12\u003c\/strong\u003e is a passive stereo coincident ribbon microphone, hand-built in Burbank, California. A single enclosure – dimensionally identical to the mono R-121 – houses two matched ribbon transducers arranged in the classic Blumlein configuration: each rotated 45 degrees from the vertical axis, stacked one above the other. The SF-12 is based on Bob Speiden's original design, developed by Royer Labs with improved toroidal transformers and a lower-mass ribbon.\u003c\/p\u003e\n\n  \u003ch3\u003eBlumlein on One Stand – Geometry Two Separate Mics Cannot Replicate\u003c\/h3\u003e\n  \u003cp\u003eThe Blumlein technique requires zero acoustic distance between two figure-8 elements crossed at 90 degrees. Two separate microphones can never fully satisfy this requirement due to the physical offset between their housings. The SF-12 solves this structurally: both ribbons share the same vertical axis, eliminating inter-channel phase delay and delivering stereo imaging with exceptional depth and mono coherence. Summing both channels to mono produces no phase artifacts – the SF-12 can be collapsed to mono in a mixer without consequence. The lower element is the left channel, the upper the right, referenced from the rear of the microphone.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Ribbon in Studio and Live Applications\u003c\/h3\u003e\n  \u003cp\u003eThe absence of internal active electronics means there is no circuit inside the microphone capable of overloading regardless of SPL – the 130 dB ceiling is a mechanical ribbon limit, not an electronic one. The 1.8-micron aluminium ribbons at approximately 1\/3 milligram each respond to transients with an accuracy unavailable from higher-mass condenser diaphragms. High-efficiency toroidal transformers with a gold-plated 5-pin XLR output connector – with a Y-cable splitting to two standard XLRs included in the box – deliver low self-noise and a stable 300 Ω output impedance. The ingot iron case forms part of the magnetic return circuit, minimising flux leakage and contributing to the relatively high sensitivity in a compact package.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched ribbon transducers in 90° Blumlein configuration – coincident stereo from one stand position\u003c\/li\u003e\n    \u003cli\u003eFull mono compatibility – channel summing without phase artifacts\u003c\/li\u003e\n    \u003cli\u003eM-S recording possible by re-routing channels\u003c\/li\u003e\n    \u003cli\u003eNo internal active electronics – no electronic overload up to maximum SPL rating\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminium ribbons, approx. 1\/3 mg each – exceptional transient response\u003c\/li\u003e\n    \u003cli\u003eHigh-efficiency toroidal transformers with gold-plated 5-pin XLR output connector\u003c\/li\u003e\n    \u003cli\u003eIngot iron case – forms part of the magnetic circuit, very low flux leakage\u003c\/li\u003e\n    \u003cli\u003e5-pin XLR to dual 3-pin XLR Y-cable (Upper \/ Lower) included\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by temperature and humidity changes\u003c\/li\u003e\n    \u003cli\u003eHand-built in Burbank, CA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: symmetrical figure-8 (both elements)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminium ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz ±3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: \u0026gt;-52 dBV re. 1 V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 Ω @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: \u0026gt;1500 Ω\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: \u0026gt;130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: 5-pin male XLR (stereo)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm L x 25 mm W\u003c\/li\u003e\n    \u003cli\u003eWeight: 369 g (13 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: matte black chrome (standard) \/ dull satin nickel (optional)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53989018173777,"sku":"28593","price":2747.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsSF-12RibbonMicrophone.jpg?v=1781093768"},{"product_id":"royer-labs-r-122v-tube-version-matched-pair","title":"Royer Labs R-122V Tube Version - Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V Tube Version – Matched Pair\u003c\/strong\u003e is a factory-matched pair of active tube ribbon microphones, hand-built in Burbank, California. The R-122V is the world's first commercially produced tube ribbon microphone and the pinnacle of Royer's R-Series line – pairing the proven ribbon transducer from the R-121 and R-122 with a vacuum tube output stage that delivers warmth, depth, and headroom unavailable from any phantom-powered ribbon design.\u003c\/p\u003e\n\n  \u003ch3\u003eTube in the Ribbon Signal Path – What It Actually Changes\u003c\/h3\u003e\n  \u003cp\u003eThe output stage is built around a JAN mil-spec 5840W pentode wired in triode configuration, operating at a 135 V DC plate supply – headroom that no phantom-powered circuit can match. The result is a sensitivity of -36 dBV\/Pa with self-noise below 18 dB, and an output approximately 25 dB hotter than a passive R-121, while retaining the smoothness and detail characteristic of the best tube condensers. The active circuitry provides optimal impedance to the ribbon element under any load condition, eliminating the damping problem caused by low-impedance preamp inputs. A Jensen 8:1 output transformer delivers a fully balanced, electrically isolated output capable of driving any preamplifier and long cable runs without signal loss.\u003c\/p\u003e\n\n  \u003ch3\u003eRibbon Transducer and Figure-8 Pattern – Studio and Stage\u003c\/h3\u003e\n  \u003cp\u003eThe 2.5-micron aluminium ribbon at 99.99% purity operates in a neodymium magnet field within Royer's patented offset-ribbon flux frame, which reduces stray magnetic radiation. The figure-8 polar pattern delivers equal sensitivity from both sides of the capsule, opening up MS, mid-side with a cardioid, and classic two-mic stereo configurations. The rear axis has a slightly brighter character within approximately three feet, which can be exploited deliberately on acoustic sources. The Matched Pair designation means factory-selected units with closely matched sensitivity and frequency response – a necessary condition for a coherent stereo image.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercial tube ribbon microphone – limited production, hand-built in Burbank CA\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W tube in triode configuration – headroom far beyond phantom power supply limits\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminium ribbon, 99.99% purity, neodymium magnets in patented flux frame\u003c\/li\u003e\n    \u003cli\u003eOutput approximately 25 dB hotter than passive R-121 with low self-noise maintained\u003c\/li\u003e\n    \u003cli\u003eJensen 8:1 output transformer – symmetrical, fully balanced output signal\u003c\/li\u003e\n    \u003cli\u003eFigure-8 polar pattern – equal sensitivity both sides, rear axis slightly brighter in close field\u003c\/li\u003e\n    \u003cli\u003eSPL handling above 135 dB @ 20 Hz – electric guitar, cymbals, and drums without issue\u003c\/li\u003e\n    \u003cli\u003eFactory Matched Pair – selected for stereo and MS use\u003c\/li\u003e\n    \u003cli\u003eDedicated power supply included, military-grade locking XLR cable set, RSM-1 shockmount, wooden storage case\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; tube warranted 10 years; first re-ribbon free of charge\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode in triode configuration\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminium ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz ±3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dBV\/Pa ±1 dB\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: \u0026lt;18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 Ω, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1 kΩ\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: \u0026gt;135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 V DC @ 2 mA, filament 6 V DC @ 150 mA (dedicated power supply)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm L x 25 mm W\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: dull satin nickel \/ matte black chrome optional\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":53989019386193,"sku":"28592","price":8812.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/RoyerLabsR-122VTubeVersion-MatchedPair1.jpg?v=1781093759"}],"url":"https:\/\/wrdtunes.com\/fr-fr\/collections\/royer-labs.oembed","provider":"Wired Tunes","version":"1.0","type":"link"}