Royer Labs Model SF-1 Stereo Ribbon Velocity Microphone Operation Instructions Manual & User Guid 2 e . Made in U.S.
TABLE OF CONTENTS Model SF-12 Ribbon Microphone Revised 201 Introductio Descriptio User Guid Using the SF-12 Ribbon Microphon Operatio Ampli cation Consideration Stereo Microphones and Ground Loop Equalization and Ribbon Microphone Hum, Noise and Mic Orientatio Microphone Technique General Tips for Using the Royer SF-1 Specialized Stereo Recording Technique 1 Classic Blumlein Techniqu 1 Mid-Side (M-S) Techniqu 1 Care and Maintenanc 1 Care for the Optical Black Finis 1 Feature 1 Speci cation
Introduction Congratulations on your purchase of a Royer Labs model SF-12 ribbon microphone. The SF-12 is a handcrafted, precision instrument capable of delivering superior sound quality and overall high performance. This operator’s manual describes the SF-12, its function and method of use. It also describes the care and maintenance required to ensure proper operation and long service life.
User Guide Using the SF-12 Ribbon Microphone Operation The SF-12 is a versatile device capable of accurate sound reproduction. There are a few important facts about ribbon microphones that are key in understanding how to use them successfully 1. The SF-12 is a side-address, bi-directional microphone and the rejection in the ‘dead’ areas is very strong. Due to this directionality, ribbon microphones should be placed at 1.
Ampli cation Considerations The performance of a ribbon microphone is directly affected by the choice of microphone preampli er it is paired with.
high enough that its effect on the performance of the mic is negligible. A good rule of thumb is to have a preampli er with input impedance at least ve times the impedance of the microphone. For example, if the mic is rated at 300 Ohms (as Royer’s are), the preamp should have an input-impedance of at least 1500 Ohms. If the impedance of the preamp is too low, the microphone will lose low end and body. 4. Transparency: A good preamp should sound natural with no edginess.
end frequencies to the point where the ribbon mic emulates the performance curve of a condenser mic with excellent results. This is not to say that a ribbon microphone can replace a quality condenser mic, but the EQ friendliness inherent in ribbon microphones does allow for an enormous amount of exibility. The reason that ribbon mics take EQ so well is their inherent low self-noise, unusually smooth frequency response characteristics and freedom from off-axis coloration.
Microphone Techniques General Tips for Using the Royer SF-12 The following are good basic starting places for recording with the SF-12. These positions are known to produce good results, but experimentation is the key to getting the most out of your recordings! Photographs of many of the following techniques can be found on our website, www.royerlabs.com It is important to remember that the SF-12’s ribbon elements can be damaged by wind.
For a single point stereo room mic, position the SF-12 vertically at four to eight feet in front of the kit. Compress to taste for either a very natural drum sound (light compression) or large rock drum sound (heavy compression) For jazz recordings, EQ is generally not required. For more aggressive drum tracks where cymbals need to sizzle, you can brighten them by adding a few dB of 10K to 12K Brass Brass records beautifully with ribbon microphones.
The SF-12 records percussion instruments naturally, without upper frequency hype or low-end boominess. Congas, bongos and the like can be recorded with left/right stereo effect by positioning the mic within a few feet of the instruments.
summed to mono with no comb lter effects, and room reverberation (undesirable in mono) is cancelled to a surprising degree For the sake of clarity, engineers commonly refer to similar stereo miking with cardioid mics as “X-Y.
Figure Care and Maintenance The SF-12 is a solidly built, precision instrument. All that is required to ensure proper operation of this microphone is to follow some commonsense rules 1. To avoid transducer damage, do not expose the microphone to severe shock or vibration. If the microphone is accidentally dropped, test it to see if damage has occurred before returning it to service. Low output or a dull sound would indicate a stretched ribbon 2.
Caution: Do not check the SF-12 with an ohmmeter or continuity tester, and do not connect the unit to an input device designed to power a capacitor microphone. Strong winds and mechanical shocks should be avoided Care for the Optical Black Finish The SF-12's optical black nish is a sophisticated surface treatment designed to refract light rather than re ect it. This makes the microphone appear less conspicuous, especially when used with high intensity lighting or within a camera shot.
Speci cations Acoustic Operating Principle Electrodynamic pressure gradien Polar Pattern Symmetrical Figure- Generating Element Two 1.8 micron aluminum ribbon Frequency Response 30 Hz - 15000 Hz ±3 d Sensitivity: > -52 dBv Re.1v/p Output Impedance 300 Ohms @ 1 kH Recommended Load Impedance > 1500 Ohms Maximum SPL: > 130 d Output Connector: male XLR 5 pin (stereo Dimensions 206 mm L x 25mm W (8” L x 1” W Weight 369 grams (13 oz.
Wiring Diagra Polar Pattern Frequency Response m 15
Warrant PLEASE RETAIN YOUR ORIGINAL BILL OF SALE AS YOU WILL NEED TO PRESENT IT SHOULD YOU REQUIRE SERVICE UNDER THIS WARRANTY TO VALIDATE THIS WARRANTY, THE REGISTRATION CARD AND A PHOTOCOPY OF THE SALES RECEIPT FROM AN AUTHORIZED ROYER DEALER MUST BE ON FILE WITH ROYER LABS.