SF-12-300Royer SF-12 Stereo Ribbon Microphone

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).


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.

Recording in Mono 
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.

ArtistMaterialEngineer, ProducerMicrophoneInstrumentGenreMedia
Labounsky & David Craighead
Ribbons OnlyDr. Fred BashourSF-12Pipe OrganClassicalAudio
Balkan BabesåÊRibbons OnlyRussell DawkinsSF-12ChoirWorldAudio, Photos
Coro Stella AlpinaRibbons OnlyMarco Olivotto, Heliut BlaisSF-12Choir, VocalsClassicalAudio
Hans ZimmerRibbons OnlyAlan Meyerson, Hans ZimmerSF-12Orchestra, Cello, ClarinetSoundtrackAudio
Jim CoxRibbons OnlyTommy VicariSF-12PianoBoogie-Woogie, SoundtrackAudio
Joby Baker
and Scott Sheerin
Ribbons OnlyRussell DawkinsSF-12Saxophone, PianoClassical, JazzAudio
Joe ChiccarelliRibbons OnlyJoe ChiccarelliSF-12StringsClassicalAudio
Larry DavidIsolated Ribbon TracksDavid PearlmanSF-12B-3BluesAudio
Michel ColombierRibbons OnlySteve DurkeeSF-12StringsClassicalAudio
Paul CantelonRibbons OnlyRussell DawkinsSF-12PianoClassical, SoundtrackAudio
Rick TrevinoRibbons OnlyDave McNair, Steve BerlinSF-12Classical Guitar, Acoustic
String QuartetIsolated Ribbon TrackJoe ChiccarelliSF-12Cello, Comparison, Strings,
Radio and Television Orchestra
Ribbons OnlyRussell DawkinsSF-12Brass, Cello, Clarinet, French
Horn, Orchestra, Percussion, Standup Bass, Strings, Upright Bass, Violin,
YAMAHA C-7 GRAND PIANORibbons OnlyNorbert PutnamSF-12PianoClassicalAudio
YAMAHA C-7 GRAND PIANORibbons OnlyNorbert PutnamSF-12PianoClassicalAudio
Dicky SimmsRibbons OnlyDusty WakemanSF-12, R-121PianoBluesAudio, Photos
Gayle LevantRibbons OnlyJohn Richards and Travis DickersonSF-12, SF-1HarpClassicalAudio
CyriusFull MixBruce SwedienR-121, SF-12Percussion, Congas, TimbalesWorldAudio, Photos
John ThomasRibbons OnlyDusty WakemanR-121, SF-12Acoustic GuitarsFolk, AmericanaAudio, Photos
Les GoFull MixBruce SwedienR-121, SF-12Percussion, Hammer DulcimerWorld PopAudio
Roger Wojahn
& Scott Wojahn
Full MixSteve KempsterR-121, SF-12Drum Overhead, Drums, Electric
Guitar, Percussion, Violin
Carl Verheyen Band
Full MixShawn SullivanR-121, SF-12Drum Room, Drums, Electric
Blues, RockAudio
Tony FurtadoFull MixDusty WakemanR-121, SF-12Acoustic Guitar, Drum Room,åÊ Electric GuitarAmericana, RockAudio
Piano, Standup Bass, Upright
Isolated Ribbon TracksRoger SummersR-121, SF-12, SF-1Drum Overhead, Drums, Kick DrumRockAudio, Photos

Listen to more samples in the Audio/Video Library


  • True stereophonic (Blumlein and M-S) recording from one microphone.
  • High SPL capabilities.
  • No internal active electronics to overload or produce distortion up to maximum SPL rating.
  • Extremely low residual noise.
  • Ribbon element not affected by heat or humidity.
  • Absence of high frequency phase distortion.
  • Equal sensitivity from front or back of elements.
  • Consistent frequency response regardless of distance.
  • High efficiency, matching toroidal transformers.
  • Very low magnetic leakage.


  • Drum Overheads
  • Percussion Instruments
  • Brass and Woodwinds
  • Horn Sections
  • Acoustic Piano
  • Harp
  • Choirs
  • Solo Strings
  • String Sections
  • Orchestra
  • Acoustic & Electric Guitars
  • Background Vocals
  • Ambiance
  • Stereo to Mono

Technical Data

  • 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)

Polar Pattern

polar pattern

Frequency Response

frequency response


SF-12 CD-R Manual 2015_Page_01


SF-12 Cutsheet_Page_1

Pro Audio Review - Royer SF-12 Stereo Ribbon Microphone by Dr. Frederick J. Bashour

Pro Audio Review - Royer SF-12 Stereo Ribbon Microphone: a 2nd Opinion by Russ Long

Recording Magazine - Royer SF-12 Ribbon Microphone - Smooth as a ribbon? by Martin Klingmeyer

Drum! Magazine - SF-12 & R-121 Review by Jon Cohan with Sean Carberry