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

- Aktives Röhren 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-24V vacuum tube stereo ribbon microphone is the pinnacle of  our SF-series stereo microphones. The sound pickup is lush, smooth and  natural, with outstanding stereo imaging and superb transient response.  The tube electronics provide increased midrange reach, unmatched clarity  and detail, and an airiness previously unheard of in ribbon mics.  Utilizing the same proprietary tube electronics as in our TEC Award  winning R-122V ribbon microphones, the SF-24V delivers the ultimate in  stereo ribbon miking for the true connoisseur of recorded sound.

The SF-24V’s independent tube circuits provide an output level of -38  dB, suitable for use with any professional preamplifier. With  self-noise of lower than 18 dB, the SF-24V’s ultra-quiet operation is  suitable for the most demanding classical and acoustic recording  applications.

Like an SF-12, the SF-24V 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 Electronics
The SF-24V’s twin head amplifiers consist of low-noise,  triode-connected military grade 5840 vacuum tubes. Designed for a wide  range of applications, the SF-24V delivers -38 dB output and the drive  capabilities only vacuum tube head amplifiers can provide. The circuits  are devoid of typical vacuum tube coloration.

The SF-24V’s triode-configured cathode follower circuitry enables the  microphone to drive long cable runs without sonic degradation or  high-frequency loss. This capability is further enhanced by the SF-24V’s  dedicated power supply, which provides ample current to the vacuum tube  electronics. Induced noise is virtually eliminated by the microphone’s  fully balanced outputs, which are electrically isolated with special  purpose Jensen output transformers.

The SF-24V has far more level than non-powered ribbon microphones and  its impedance matching circuitry places a perfect load on the ribbon  element at all times. This allows the use of a wide variety of mic  preamps without concern for gain and impedance matches, two critical  issues with ribbon microphones. In addition, the microphone’s  electronics shield the ribbon elements from any possibility of damage by  phantom power, electrical glitches or miswired cables.

It is important to note that the SF-24V’s higher sensitivity creates  no additional self-noise. All of the SF-24V’s increased level comes from  its large, specially wound toroidal transformers, so there is no  additional noise associated with the microphone’s higher output. The  tube system operates at less than unity, adding no noise of its own.

The SF-24V excels on full orchestra, choir and ensembles, classical  piano, drum overheads, virtually all acoustic instruments, small vocal  groups, a wide variety of percussion instruments, as a room mic, etc.

Like the SF-12, the SF-24V 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.

Recording in Mono
For mono recording, phase compatibility between the two sides of the  SF-24V is excellent, allowing you to combine the two channels perfectly  in mono with no 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. Each side of the  SF-24V can also be used as an independent mono microphone.

Primary Uses:
Orchestra, String Sections, Solo Strings, Brass and Woodwinds, Acoustic Piano, Harp, Choirs, Drum Overheads, Percussion Instruments, Acoustic Guitar, Large & Small Ensembles, Ambiance, Stereo to Mono
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