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

- Aktives Stereo Bändchen Mikrofon
- Für Blumlein (Gekreuzte Acht) Stereo Recordings
- Verträgt auch hohe Pegel
- Keine Verzerrungen bis zur Vollaussteuerung
- Extrem tiefes Eigenrauschen
- Keine Phasenverschiebungen bei hohen Frequenzen
- 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-24 stereo ribbon microphone is a phantom powered version of  our popular SF-12 stereo ribbon microphone. It combines the SF-12’s high  quality audio performance, outstanding stereo separation and imaging  with our exclusive active electronics system for ribbon microphones. The  SF-24’s output of -38 dB is a full 14 dB more sensitive than our  non-powered SF-12, putting its sensitivity on par with that of phantom  powered condenser microphones. The unique electronics and custom  designed FET’s used in the SF-24 allow for ultra-quiet operation, with  self-noise of lower than 18 dB.

Like an SF-12, the SF-24 is actually two matched ribbon microphones  placed one above the other in a coincident pair, each aimed 45 degrees  from center in the classic Blumlein configuration. The magnet/pole piece  structure of each ribbon transducer delivers a wide, uniform frequency  response with no substantial peaks or dips, and the 1.8-micron ribbons  produce superb transient response. Frequency response is excellent  regardless of the angle of sound striking the ribbons and off-axis  coloration is negligible.
The SF-24’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).

Our active ribbon™ mics (SF-24 and R-122) are as sensitive as phantom  powered condenser microphones, allowing you to use virtually any mic  preamplifier or board pre. Conventional ribbon microphones are 15 to 30  dB less sensitive than condenser mics, necessitating the use of  high-quality, high-gain microphone preamplifiers when recording softer  sound sources like acoustic instruments, vocals and room ambiance. The  SF-24 contains two fully balanced, discrete head amplifier systems  utilizing specially wound toroidal transformers and ultra-low noise  FET’s, each delivering a sensitivity of -38 dB. This lets you mate an  SF-24 to any preamplifier with average gain characteristics. Even with  quiet sound sources, you’ll have enough level to drive any recording  medium.

It is important to note that the SF-24’s higher sensitivity does not  create additional self-noise. All of the SF-24’s increased level comes  from its large, specially wound toroidal transformers – that wonderful  thing called “free gain.” The level at the each of the transformers is  actually hotter than what comes out of the microphone. The phantom  powered system operates at less than unity, adding no noise of its own.  This system took years to develop and is in patent pending status.
Impedance Matching
The electronics in the SF-24 provide a perfect load to the ribbon  elements at all times, allowing the microphone to deliver 100% of its  full sonic potential regardless of the input characteristics of the  following mic-pre. Due to its low-impedance output, SF-24’s can also be  used on extremely long cable runs with minimal signal loss.
A good impedance match is critical to ribbon microphones. Impedance  mis-matching loads a ribbon improperly, resulting in loss of low end,  diminished body, lowered sensitivity and an overall compromised  performance. With our Active Series ribbon mics, the ribbon element sees  a perfect impedance at all times, regardless of the preamp you use, so  its performance will never be compromised by the effects of improper  loading. In addition, the ribbon element cannot be damaged by phantom  power, electrical glitches or miswired cables.

Like the SF-12, the SF-24 is uncanny for creating “you-are-there”  stereo recordings that capture not only the instrument(s) being  recorded, but, depending on how the microphone is positioned, varying  degrees of the acoustical space. In addition, the increased sensitivity  and impedance matching circuitry allows for more consistent results in a  variety of recording situations and with a wider selection of mic  pre’s.

For mono recording, phase compatibility between the two sides of the  SF-24 is excellent. This allows you to combine the two channels  perfectly in mono without creating undesirable 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-24 can also be used individually as a  mono microphone.

The SF-24 excels on classical piano, drum overheads, ensemble and  orchestral recordings, a wide variety of percussion instruments,  virtually all acoustic instruments, small vocal ensembles, large choirs,  etc.

Recording in Mono
Phase compatibility between the two sides of the SF-24 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-24 can also  be used individually as a mono microphone.

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