{"product_id":"royerlabs-sf12","title":"Royer Labs SF-12 Stereo Ribbon Microphone","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer SF-12\u003c\/span\u003e stereo \r\ncoincident ribbon microphone combines high quality audio performance \r\nwith outstanding stereo separation and imaging. It is a modern ribbon \r\ndesign with no audible diffraction effects or cavity resonance. An SF-12\r\n is actually two matched ribbon microphones placed one above the other; \r\neach aimed 45 degrees from center in the classic Blumlein configuration.\r\n The frequency response is excellent regardless of the angle of sound \r\nstriking the ribbons and off-axis coloration is negligible.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe SF-12 utilizes two 1.8-micron ribbons, each weighing approximately \r\n1\/3 milligram and producing superb transient response. The two ribbon \r\ntransducers are magnet\/pole piece structures that produce a wide, \r\nuniform frequency response with no substantial peaks or dips. The case \r\nis ingot iron and forms part of the magnetic return circuit, an \r\neffective system with low leakage flux which accounts for the relatively\r\n high sensitivity in a trim package. The SF-12's extension cable comes \r\nwith a Y adapter that splits into separate 3-pin male XLR connectors \r\nlabeled \"Upper\" and \"Lower,\" for the upper and lower capsules of the \r\nmicrophone (when held vertically).\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\r\n\u003cul\u003e\n\u003cli\u003eTrue stereophonic (Blumlein and M-S) recording from one \r\nmicrophone.\u003c\/li\u003e\n\u003cli\u003eHigh SPL capabilities.\u003c\/li\u003e\n\u003cli\u003eNo internal active electronics to overload or produce distortion \r\nup to maximum SPL rating.\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise.\u003c\/li\u003e\n\u003cli\u003eRibbon element not affected by heat or humidity.\u003c\/li\u003e\n\u003cli\u003eAbsence of high frequency phase distortion.\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of elements.\u003c\/li\u003e\n\u003cli\u003eConsistent frequency response regardless of distance.\u003c\/li\u003e\n\u003cli\u003eHigh efficiency, matching toroidal transformers.\u003c\/li\u003e\n\u003cli\u003eVery low magnetic leakage.\u003c\/li\u003e\n\u003c\/ul\u003e\r\nThe SF-12 is uncanny for creating \"you-are-there\" stereo recordings that\r\n capture not only the instrument being recorded, but, depending on \r\npositioning, the acoustic environment as well. If you pay careful \r\nattention to the sound of an instrument or ensemble in the recording \r\nenvironment, you will likely find a place where it sounds best to you. \r\nPosition the SF-12 in that place and you will capture that sound.\u003cbr\u003e\r\n\u003cbr\u003e\r\nA beautiful example can be found in the Orchestra section of the Royer \r\nDemonstration CD. An engineer used one well-positioned SF-12 to create a\r\n stunning recording of the Ukrainian Radio Television Orchestra. \r\n(Initially, the conductor was not happy with the engineer's desire to \r\nrecord with one microphone, but after hearing the results, the engineer \r\nhas been invited back to record the orchestra a number of times, with \r\nthe same one microphone, his SF-12.)\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe SF-12 is an excellent choice for drum overheads, where its stereo \r\nimaging and realism help to create powerful, dynamic drum tracks. In a \r\njazz setting, recording the kit flat provides extremely natural sounding\r\n cymbals, tom-toms and snares. In rock and pop recordings where you'd \r\nlike to capture the meat of the kit but with more air on the cymbals to \r\nhelp them cut more aggressively, simply open the top end up with EQ. \r\nRibbons take EQ extremely well because they generate virtually no self \r\ndistortion. When you boost a frequency, even by many dB, you'll bring up\r\n only the musical response you're looking for without unpleasant \r\ndistortion artifacts joining the party.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eRecording in Mono\u003c\/span\u003e\u003cbr\u003e\r\nPhase compatibility between the two sides of the SF-12 is excellent, \r\nallowing you to combine the two channels for mono recording without \r\ncreating phase artifacts. This is particularly useful when capturing a \r\nwide sound field in mono; for instance, a singer who tends to move off \r\nthe \"sweet spot\" of a mono microphone. Either side of the SF-12 can also\r\n be used individually as a mono microphone.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eApplications\u003c\/span\u003e\u003cbr\u003e\r\n\u003cul\u003e\n\u003cli\u003eDrum Overheads\u003c\/li\u003e\n\u003cli\u003ePercussion Instruments\u003c\/li\u003e\n\u003cli\u003eBrass and Woodwinds\u003c\/li\u003e\n\u003cli\u003eHorn Sections\u003c\/li\u003e\n\u003cli\u003eAcoustic Piano\u003c\/li\u003e\n\u003cli\u003eHarp\u003c\/li\u003e\n\u003cli\u003eChoirs\u003c\/li\u003e\n\u003cli\u003eSolo Strings\u003c\/li\u003e\n\u003cli\u003eString Sections\u003c\/li\u003e\n\u003cli\u003eOrchestra\u003c\/li\u003e\n\u003cli\u003eAcoustic \u0026amp; Electric Guitars\u003c\/li\u003e\n\u003cli\u003eBackground Vocals\u003c\/li\u003e\n\u003cli\u003eAmbiance\u003c\/li\u003e\n\u003cli\u003eStereo to Mono\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231929447,"sku":"852","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-sf-12_852_1.jpg?v=1787088236","url":"https:\/\/vintageking.com\/products\/royerlabs-sf12","provider":"Vintage King","version":"1.0","type":"link"}