Recommended Applications

Royer Live Series Ribbon Microphones

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Ribbons On Stage

wayne shorterRemember when...
Remember when... a loud guitar amp was no place for a ribbon mic?
Remember when... a kick drum was no place for a ribbon mic?
Remember when... a live stage was no place for a ribbon mic?

Those days are over.

Our TEC Award winning Live Series ribbon microphones were made for the stage. If brittle electric guitars, harsh trumpets, or machine-sounding drums are dragging your shows down, ribbons will warm things up and help you get you the natural, full bodied sounds you're looking for.

Some of the bands using Royers on the road today...

Royer Live Series Ribbon Microphones

live ribbon micsIntroduced in 2008, the TEC Awarding winning Royer Live Series ribbon microphones make available to FOH engineers for the first time what studio engineers have counted on for years; the smooth, warm, natural response that only a good ribbon microphone can deliver. Your electric guitarists and trumpet players will thank you for taking the words "brittle" and "harsh" out of their working vocabulary, while the full range and power of their instruments are pumping out of the FOH system.

Live Series mics are identified by their red logos (studio models have green logos). They utilize thicker ribbon elements for increased durability, allowing you to put ribbons anywhere on stage you'd like with complete confidence. The thicker ribbons give a slightly slower transient response, resulting in softer highs.

Like any high-end microphone, Royer Live Series mics should be handled carefully during set-up and break-down. Proper handling and storage in a dedicated microphone container will assure years of reliable service.

Live Ribbon Mics Product Page


A Figure-8 Microphone on Stage?

Royer ribbons have an extremely effective figure-8 polar pattern. They pick up sound from the front and rear of the microphone and reject sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These null points (dead zones) allow engineers to effectively control bleed by positioning the mics so the null points face and cancel offending sound sources.

Off-Axis Coloration:
There's a lot of sound on a live stage and you can't entirely control what gets into the microphones. Most microphones color off-axis sounds (bleed) in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that gets into your onstage Royers will sound natural, not harsh or colored.