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Produkte > Mikrofone > Royer Labs > Low-Mass Ribbons
Stereo Low-Mass Ribbon Microphone

- Passives Stereo Bändchen Mikrofon
- Für Blumlein (Gekreuzte Acht) Stereo Recordings
- Verträgt auch hohe Pegel
- Keine aktive Elektronik, vollständig passiv aufgebaut
- Extrem tiefes Eigenrauschen
- Stabiles Ribbon Element gegen Hitze/Feuchtigkeit
- Gleiche Empfindlichkeit von Vorder- und Rückseite
- Gleicher Frequenzgang mit zunehmender Distanz
- Hocheffiziente, abgestimmte Torodial Transformatoren
- Sehr tiefe magnetische Streuungen

The SF-12 stereo coincident ribbon microphone combines high quality  audio performance with outstanding stereo separation and imaging. It is a  modern ribbon design with no audible diffraction effects or cavity  resonance. An SF-12 is actually two matched ribbon microphones placed  one above the other; each aimed 45 degrees from center in the classic  Blumlein configuration. The frequency response is excellent regardless  of the angle of sound striking the ribbons and off-axis coloration is  negligible.

The SF-12 utilizes two 1.8-micron ribbons, each weighing  approximately 1/3 milligram and producing superb transient response. The  two ribbon transducers are magnet/pole piece structures that produce a  wide, uniform frequency response with no substantial peaks or dips. The  case is ingot iron and forms part of the magnetic return circuit, an  effective system with low leakage flux which accounts for the relatively  high sensitivity in a trim package. The SF-12’s extension cable comes  with a Y adapter that splits into separate 3-pin male XLR connectors  labeled “Upper” and “Lower,” for the upper and lower capsules of the  microphone (when held vertically).

The SF-12 is uncanny for creating “you-are-there” stereo recordings  that capture not only the instrument being recorded, but, depending on  positioning, the acoustic environment as well. If you pay careful  attention to the sound of an instrument or ensemble in the recording  environment, you will likely find a place where it sounds best to you.  Position the SF-12 in that place and you will capture that sound.

A beautiful example can be found in the Orchestra section of the  Royer Demonstration CD. An engineer used one well-positioned SF-12 to  create a stunning recording of the Ukrainian Radio Television Orchestra.  (Initially, the conductor was not happy with the engineer’s desire to  record with one microphone, but after hearing the results, the engineer  has been invited back to record the orchestra a number of times, with  the same one microphone, his SF-12.)

The SF-12 is an excellent choice for drum overheads, where its stereo  imaging and realism help to create powerful, dynamic drum tracks. In a  jazz setting, recording the kit flat provides extremely natural sounding  cymbals, tom-toms and snares. In rock and pop recordings where you’d  like to capture the meat of the kit but with more air on the cymbals to  help them cut more aggressively, simply open the top end up with EQ.  Ribbons take EQ extremely well because they generate virtually no self  distortion. When you boost a frequency, even by many dB, you’ll bring up  only the musical response you’re looking for without unpleasant  distortion artifacts joining the party.

Recording in Mono
Phase compatibility between the two sides of the SF-12 is excellent,  allowing you to combine the two channels for mono recording without  creating phase artifacts. This is particularly useful when capturing a  wide sound field in mono; for instance, a singer who tends to move off  the “sweet spot” of a mono microphone. Either side of the SF-12 can also  be used individually as a mono microphone.

Primary Uses:
Drum Overheads, Percussion Instruments, Brass and Woodwinds, Horn Sections, Acoustic Piano, Harp, Choirs, Solo Strings, String Sections, Orchestra, Acoustic & Electric Guitars, Background Vocals, Ambiance, Stereo to Mono
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