| The SF-12 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.
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).
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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.
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.)
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.
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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.
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Acoustic Operating Principle: Electrodynamic pressure
gradient
Polar Pattern: Symmetrical figure-8
Generating Element: 1.8-micron aluminum ribbon
Frequency Response: 30-15,000 Hz ± 3dB
Sensitivity: > -52 dBv Re. 1v/pa
Output Impedance: 300 Ohms @ 1K (nominal)
Rated Load Impedance: >1500 Ohms @ 300 nominal impedance
Maximum SPL: >130dB
Output Connector: Male XLR 5 pin (stereo*)
Dimensions: 206 mm L X 25 mm W (8" L X 1" W)
Weight: 369 Grams (13 Oz)
Finish: Matte Black Chrome, Dull Satin Nickel (optional)
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Protective wood case, 18' Cable - *XLR5 to 2 standard
3 pin XLR male, microphone sock
Optional Accessories: Windscreen, Shock Mount
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