Royer labs SF-12

The SF-12 is a coincidental stereo microphone offering high quality sound performance and exceptional stereo separation and imaging.
It features a modern ribbon design that does not produce sound diffraction or cavity resonance. The SF-12 consists of two matched ribbon microphones mounted one on top of the other, each oriented at a 45 degree angle from the centre (the classic Blumlein configuration). This provides excellent frequency response at any angle of placement, as well as minimal off-axis coloration.
The SF-12 is equipped with two 1.8 micron ribbons, each weighing approximately 0.3 g, which produce a remarkable transient response. Both ribbons have a magnet/polar element structure that provides a linear, extended frequency response with no significant peak or roll-off. The industrial iron body serves as a magnetic return element to allow for minimal dispersion flux (depending on the relatively high sensitivity level) in a compact size. The SF-12 extension cable is supplied with a Y-adapter with two 3-pin male XLR connectors ("Upper" and "Lower", for the upper and lower capsules, when the microphone is placed vertically).

Recording with the SF-12
The SF-12 allows for incredibly natural stereo recordings and reproduces not only the sound of the instrument, but also the sound characteristics of the acoustic environment, depending on the microphone placement. By paying close attention to the sound of the instrument or ensemble in the acoustic environment, you can determine the best location for the microphone. Place the SF-12 there to record the sound as you hear it.

A good example of a successful result is shown on the Royer demo CD in the orchestra section. An engineer used a single, well-positioned SF-12 to make a stunning recording of the Ukrainian Radio Television Orchestra. The conductor was initially reluctant to use only one microphone, but after hearing the recording, he did not hesitate to call on the engineer again to record the orchestra, again with a single SF-12.



The SF-12 is the mic of choice for drum overheads as it provides a realistic stereo image and impressive, dynamic drum tracks. For Jazz music, you can record the drum kit without applying any EQ for extremely natural cymbal, toms and snare sounds. For Rock or Pop music, you can boost the high frequencies to work with a more distinct and accurate cymbal sound. The frequency response of ribbon mics can be easily modified because they generate almost no distortion. So when you boost a frequency (even by several dB), only the musical signal is boosted because no distortion is generated.

Mono recording
The phase compatibility between the two capsules of the SF-12 is excellent, allowing you to combine their signals for mono recording and avoid phase shift problems. This is particularly useful when you need to record a mono recording of a large sound field, such as when a singer is constantly moving in front of a mono microphone. The two sides of the SF-12 can also be used separately in mono.