{"product_id":"royer-labs-sf-12-stereo-ribbon-microphone-159-used","title":"Royer Labs SF-12 Stereo Ribbon Microphone #159 (Used)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer SF-12\u003c\/span\u003e 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.\u003cbr\u003e  \u003cbr\u003e  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).\u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e  \u003cul\u003e\n\u003cli\u003eTrue stereophonic (Blumlein and M-S) recording from one   microphone.\u003c\/li\u003e\n\u003cli\u003eHigh SPL capabilities.\u003c\/li\u003e\n\u003cli\u003eNo internal active electronics to overload or produce distortion   up 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  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.\u003cbr\u003e  \u003cbr\u003e  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.)\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight: bold;\"\u003eRecording in Mono\u003c\/span\u003e\u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight: bold;\"\u003eApplications\u003c\/span\u003e\u003cbr\u003e  \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":44451185786983,"sku":"457058","price":1889.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-labs-sf-12-stereo-ribbon-microphone-159-used_457058_1.jpg?v=1787096186","url":"https:\/\/vintageking.mom\/products\/royer-labs-sf-12-stereo-ribbon-microphone-159-used","provider":"Vintage King","version":"1.0","type":"link"}