Royer Labs

FEATURES 12dB and 20dB gain stages in Mic mode0dB or 8dB gain in Hi-Z DI modeHigh input impedanceBalanced Low output impedanceRugged case constructionUltra-low noise performanceUltra-low distortionWide frequency bandwidthBENEFITS Safe for use on all ribbon micsIncreases headroom at the preampProvides true electrical isolationProtects ribbon mics from phantom-powerMinimizes mic loadingCapable of driving difficult loads, such as mic splitters and vintage style preamps, without increased distortion or loss of gain

Cable set for SF-12/SF-24 with 5m connection Split cable and cable 5-pin XLR to 2 x 3-pin XLR.For more information, please visit this products webpage.

Cable set for SF-12/SF-24 with 7.5m connection Split cable and cable 5-pin XLR to 2 x 3-pin XLR.For more information, please visit this products webpage.

The dBooster has two gain settings, 12 dB and 20 dB, allowing you to dial in just the right amount of in-line gain for your different singers and instruments. The 20 dB setting gives loads of clean boost for recording soft instruments and singers, but when your singer is wailing or you use the dBooster on high volume instruments like electric guitar, switch it down to 12 dB to keep from overloading your preamp or digital interface.  The dBooster’s Class A input stage delivers crystal clean gain with virtually no noise or self-distortion. The dBooster’s low-impedance output keeps things clean in the studio and also shines on live stages, driving long cable lengths and difficult loads like mic splitters and vintage-style preamps with no loss of gain, no increased distortion, and excellent headroom. The dBooster gives excellent results with Royer R-121s, R-10s and stereo SF-12s. It also smokes on SM7s and other dynamic mics! The dBooster is built in the USA and ships from our Burbank headquarters. Features: Switchable 12dB/20dB gain Ultra-low noise, ultra-low distortion Class A input stage Safe for use on all ribbon mics Wide frequency bandwidth Retains sound quality on long cable runs Maintains headroom and gain regardless of load

15m extension cable for SF-12/SF-24, XLR 5-pin.For more information, please visit this products webpage.

Dual microphone utility mountThe FlexBar is a universal microphone holder designed to hold two microphones on a single microphone stand, with additional flexibility far beyond traditional stereo bar capabilities. Constructed from aircraft-grade aluminum and finished in matte-black, the FlexBar is lightweight and handles most microphone types. Unlike traditional stereo bars, the FlexBar’s two movable arms provide a wide range of mic placement options, from the traditional Blumlein and spaced pair positions to however creative you want to get with it (see some good starting place configurations below). Each arm has engraved gradient markers in centimeters, for precise repeatable distancing of the microphones. The FlexBar was designed in conjunction with Triad-Orbit and accepts all Triad-Orbit accessories. For fine adjustments of the entire FlexBar unit, the Triad-Orbit ball-swivel adaptor added between the base of the FlexBar and a microphone stand works well.

5m extension cable for SF-12/SF-24, XLR 5-pin.For more information, please visit this products webpage.

7.5m extension cable for SF-12/SF-24, XLR 5-pin.For more information, please visit this products webpage.

R-10 Studio/Live Ribbon Microphone The Royer R-10 is a passive mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank California factory, the R-10’s sound and performance are all-Royer and it handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allows for flexible, unobtrusive positioning. The R-10’s 2.5-micron aluminum ribbon element is formed with our our patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin. The R-10 is excellent on brass and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. Drums are full bodied with realistic (not over-hyped) transients response, and the R-10’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 in front of the kit sounds huge and punchy. R-10 recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record record warm and naturally on an R-10, and the EQ-friendliness of the R-10 allows for dialing in completely different sounds with liberal use of EQ. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). Royer’s Patented Offset Ribbon Technology The R-10’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources like acoustic guitar, ukulele and vocals on the back side (3 feet or closer; phase reversed position). For more information on the R-series transducer design, see https://www.youtube.com/watch?v=B-KaSiYYcDU The R-10 is available in matched pairs.

R-10 Studio/Live Ribbon Microphone The Royer R-10 is a passive mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank California factory, the R-10’s sound and performance are all-Royer and it handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allows for flexible, unobtrusive positioning. The R-10’s 2.5-micron aluminum ribbon element is formed with our our patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise. The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The Sound Royer ribbon mics are legendary on electric guitar and the R-10 shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin. The R-10 is excellent on brass and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. Drums are full bodied with realistic (not over-hyped) transients response, and the R-10’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 in front of the kit sounds huge and punchy. R-10 recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results. Vocals record record warm and naturally on an R-10, and the EQ-friendliness of the R-10 allows for dialing in completely different sounds with liberal use of EQ. Try experimenting with cutting bass at 100 Hz and opening up 12K by 3 to 6 dB (or more!). Some great vocal performances were recorded on highly EQ’d ribbon mics (Sixpence None the Richer “There She Goes Again” and “Kiss Me” for example). Royer’s Patented Offset Ribbon Technology The R-10’s patented offset-ribbon design positions the ribbon element toward the front of the transducer, which allows for high SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources like acoustic guitar, ukulele and vocals on the back side (3 feet or closer; phase reversed position). For more information on the R-series transducer design, see https://www.youtube.com/watch?v=B-KaSiYYcDU The R-10 is available in matched pairs.

Released in 1998, the award-winning R-121 is our flagship microphone; the world's first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile "classic" approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121's have been sold around the world and it's well established as a standard for tracking electric guitar and brass. The R-121 redefined ribbon microphones so completely that Recording Magazine wrote "...the Royer R-121 is destined to become one of the classic microphones of the 21st century." Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that's where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe. Patented Offset Ribbon Technology The R-121's proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones.

Royer Labs R-121 Studio Ribbon Microphone match pair Released in 1998, the award-winning R-121 is our flagship microphone; the world's first radically reengineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile "classic" approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121's have been sold around the world and it's well established as a standard for tracking electric guitar and brass.The R-121 redefined ribbon microphones so completely that Recording Magazine wrote "...the Royer R-121 is destined to become one of the classic microphones of the 21st century."Like many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that's where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe.We build the R-121 solid enough to give it a lifetime warranty. We expect you to own it for as long as you record, and we'll stand behind it the whole way.Feature: High SPL Capabilities No internal active electronics to overload or produce distortion up to maximum SPL rating Extremely low residual noise Ribbon element is not affected by heat or humidity Absence of high frequency phase distortion Equal sensitivity from front or back of element Consistent frequency response regardless of distance Technical Data: Acoustic Operating Principle: Electrodynamic pressure gradient Polar Pattern: Figure-8 Generating Element: 2.5-micron aluminum ribbon Magnets: Rare Earth Neodymium Frequency Response: 30 -15,000 Hz +/- 3dB Sensitivity: -50 dBv Re. 1v/pa Output Impedance: 300 Ohms @ 1K (nominal) Rated Load Impedance: >1500 Ohms @ 300 Ohms Maximum SPL: >135dB @ 20 Hz Output Connector: Male XLR 3 pin (Pin 2 Hot) Dimensions: 58mm L, 25mm W (6.13" L, 1" W) Weight: 244g (8.6 oz) Finish: Dull Satin Nickel/Matte Black Chrome optional For more information, please visit this products webpage.

The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to our groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications. The R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble. The R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic performance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible. The R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).

The all new Sling-Shock™ (patent pending) is a revolutionary departure from traditional shock mount designs. We've done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations.In the Royer tradition, the Sling-Shock is hand-built in our Burbank, CA facility using only the finest materials.Our proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock's superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.The Sling-Shock RSM-SS1 is sized to fit Royer's 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. Future models will accommodate Royer's larger bodied microphones and microphones of all sizes.A European stand-adapter is included where applicaple, allowing the Sling-Shock to be fitted to European specification microphone stands.Sling Shock Features:Superior isolation from vibration and shocksFelt-lined, scratch-free microphone chamber holds mic securelyNo rubberized parts to degrade or stretchFlexible for easy microphone positioningLifetime warranty

Royer Labs R-122V Vacuum Tube Ribbon Microphone match pairThe R-122V is the pinnacle of our R-Series line, a world class tube ribbon microphone exhibiting unparalleled richness, depth and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best.The R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail and airiness, along with the ability to handle brute SPL levels without flinching.The ElectronicsThe R-122V's head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.The R-122V'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 R-122V's dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone's fully balanced output, which is electrically isolated with a special purpose Jensen output transformer.Like our phantom powered R-122, the R-122V 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. All of the R122V's increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone's higher output.Patented Offset Ribbon TechnologyThe R-122's proprietary offset ribbon transducer (Patent Number: 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone than the rear. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones.Feature:Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedanceExtremely low self-noiseOperates from a dedicated power supplyHigh SPL capabilities for electric guitar and percussion instrumentsAbsence of high-frequency peaks, "ringing" and phase shiftsRibbon element unaffected by impedance/load, heat or humidityVery low magnetic leakageEqual sensitivity from front or back of elementConsistent frequency response regardless of distanceRear side of mic records slightly brighter when three feet or closer to sound sourceTechnical Data:Acoustic Operating Principle: Electrodynamic pressure gradient with vacuum tubeelectronics.Vacuum Tube: JAN mil-spec 5840W pentode wired in triode configurationPolar Pattern: Figure-8Generating Element: 2.5-micron aluminum ribbonMagnets: Rare Earth NeodymiumFrequency Response: 30 -15,000 Hz +/- 3dBSensitivity: -36 dB (re. 1v/pa +/- 1 dB)Self-Noise: < 18 dBOutput Impedance: 200 Ohms, balancedRated Load Impedance: 1 K-OhmMaximum SPL: >135dB SPL @ 20 HzPower Requirements: Plate supply: 135 VDC @2ma, Filament supply: 6 VDC@ 150ma from dedicated power supply.Dimensions: 206mm L, 25mm W (8 1/8 " L, 1" W). Weight: 300g (10.9 oz )Finish: Dull Satin Nickel/Matte Black Chrome optional For more information, please visit this products webpage.

Der dBooster verfügt über zwei wählbare Verstärkungseinstellungen (12 dB oder 20 dB), sodass Sie für verschiedene Mikrofone und Instrumente genau die richtige Menge an sauberem Boost wählen können. Dank seines niederohmigen Ausgangs kann er lange Kabelwege, Mikrofon-Splitter oder anspruchsvolle Lasten ohne Verlust an Verstärkung, zusätzliche Verzerrung oder Beeinträchtigung des Headrooms ansteuern. Er ist sicher für Bändchenmikrofone (Phantomspeisung wird nicht an das Mikrofon weitergeleitet) und trägt durch Minimierung von Belastung und Verzerrung zur Erhaltung der Mikrofonleistung bei.

Der Royer Labs R-12 Active Ribbon Mikrofon wurde für herausragende Leistung sowohl im Studio als auch bei Live-Auftritten entwickelt. Mit seiner Acht-Charakteristik und aktiven Schaltung bietet er einen hohen Ausgangspegel bei minimalem Rauschen. Ideal für akustische und verstärkte Instrumente wie Gitarren, Klaviere, Blasinstrumente und Schlagzeug, liefert der R-12 einen warmen, natürlichen Klang mit feinen Nuancen und hoher Detailtreue. Ausgestattet mit dem gleichen 2,5-Mikron-Bändchenelement wie das legendäre R-121 erreicht der R-12 eine beeindruckende Schalldruckfestigkeit von bis zu 160 dB bei aktiviertem -15 dB Pad – perfekt für die lautesten Schallquellen. Der schaltbare 100 Hz Hochpassfilter reduziert effektiv den Nahbesprechungseffekt und unerwünschte Tieffrequenzen, was ihn ideal für Nahmikrofonierungen macht. Das intern stoßgedämpfte Bändchenelement minimiert Handgeräusche, während das dreilagige Metallgeflecht störende Plosivlaute verhindert. Im Lieferumfang enthalten sind eine Mikrofonhalterung, ein Mikrofonschutzsocke und ein Transportkoffer.

Entwickelt für herausragende Leistung im Studio und bei Live-Auftritten, bietet das Royer Labs R-12 Active Ribbon Mikrofon-Matched Pair eine Acht-Charakteristik und eine aktive Schaltung für hohen Ausgangspegel bei äußerst geringem Rauschen. Perfekt geeignet für akustische und verstärkte Instrumente wie Gitarren, Klaviere, Blasinstrumente und Schlagzeug, liefert das R-12-Paar einen warmen, natürlichen und detailreichen Klang. Jedes R-12 verwendet dasselbe renommierte 2,5-Mikron-Bändchenelement wie das legendäre R-121 und erreicht bei aktiviertem -15 dB Pad eine maximale Schalldruckfestigkeit von bis zu 160 dB – ideal für die lautesten Schallquellen. Der schaltbare 100 Hz Hochpassfilter reduziert effektiv den Nahbesprechungseffekt und unerwünschte Tieffrequenzen, was ihn perfekt für Nahmikrofonierungen macht. Das intern stoßgedämpfte Bändchenelement minimiert Handgeräusche, während das integrierte dreilagige Metallgeflecht störende Plosivlaute verhindert. Das präzise abgeglichene Stereopaar wird mit Mikrofonhaltern, Mikrofonsocken und einem robusten Transportkoffer geliefert.

Royer Labs SF-12The 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).Features:    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.Technical Specifications:    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)

      Phantom powered circuitry provides high output and impedance matching     High SPL capabilities (130 dB @ 70 Hz)     No 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 and back of microphone     Consistent frequency response regardless of distance     High efficiency toroidal transformer and gold plated output connector     Very low magnetic leakage     Matte Black finish reduces reflected light for live and on-camera use   The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible. GainOur Active Series ribbon mics 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 quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET's to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you'll have enough level to drive any recording medium. The SF-2's electronics create no additional self-noise. All of the SF-2's higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of 'free gain.' The phantom powered system operates at less than unity, adding no noise of its own. Impedance MatchingThe electronics in the SF-2 provide a perfect load to the ribbon element 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-2's can be used on extremely long cable runs with minimal signal loss. A proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables. The SF-2 StoryTwenty prototype SF-2's circulated in major studios and scoring stages for years before the microphone's release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn't get most of the prototypes back... PackagingThe SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual. The optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case.

      Phantom powered circuitry provides high output and impedance matching     High SPL capabilities (130 dB @ 70 Hz)     No 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 and back of microphone     Consistent frequency response regardless of distance     High efficiency toroidal transformer and gold plated output connector     Very low magnetic leakage     Matte Black finish reduces reflected light for live and on-camera use   The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB. The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible. GainOur Active Series ribbon mics 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 quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET's to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you'll have enough level to drive any recording medium. The SF-2's electronics create no additional self-noise. All of the SF-2's higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of 'free gain.' The phantom powered system operates at less than unity, adding no noise of its own. Impedance MatchingThe electronics in the SF-2 provide a perfect load to the ribbon element 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-2's can be used on extremely long cable runs with minimal signal loss. A proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables. The SF-2 StoryTwenty prototype SF-2's circulated in major studios and scoring stages for years before the microphone's release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn't get most of the prototypes back... PackagingThe SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual. The optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case.

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).Gain 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 MatchingThe 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.Features: Phantom powered circuitry provides high output and impedance matching True stereophonic (Blumlein and M-S) recording from one microphone High SPL capabilities No distortion up to maximum SPL rating< Extremely low residual noise Ribbon elements are 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 leakag Technical Data: Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics Polar Pattern: Crossed figure-8's Generating Element: 1.8-micron aluminum ribbon Frequency Response: 40-15,000 Hz +/- 2dB Sensitivity: -38 dB (re. 1v/pa +/-1dB) Self-Noise: < 18 dB Output Impedance: 200 Ohms Rated Load Impedance: 1K-Ohm Maximum SPL: >130dB Output Connector: Male XLR 5 pin (stereo*) Power Requirements: 48-Volt Phantom Only Supply Current: 4 mA per channel Dimensions: 270mm X 39mm (base) X 25mm (top) (10 5/8" X 1.5" X 1") Weight: 583 grams (20.5 oz) Finish: Optical Black, 18K Gold (optional)

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 ElectronicsThe 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 ownFeature:    Vacuum tube circuitry provides high output and impedance matching    True stereophonic (Blumlein and M-S) recording from one coincident microphone    High SPL capabilities    No distortion up to maximum SPL rating    Extremely low residual noise    Ribbon elements are 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 leakageTechnical Data:    Acoustic Operating Principle: Electrodynamic pressure gradient with vacuum tube electronics.    Vacuum Tube: JAN mil-spec 5840W pentode wired in triode configuration    Polar Pattern: Crossed figure-8's    Generating Element: 1.8-micron aluminum ribbon    Frequency Response: 40-15,000 Hz +/- 2dB    Sensitivity: -38 dB (re. 1v/pa +/-1dB)    Self-Noise: < 18 dB    Output Impedance: 200 Ohms    Rated Load Impedance: 1K-Ohm    Maximum SPL: >130dB    Microphone Output Connector: Male XLR 7 pin (stereo*)    Power Supply Output Connectors: Two Male XLR-3 pin    Power Requirements: Plate supply: 135 VDC @2ma, Filament supply: 6 VDC@ 150ma from dedicated power supply.    Supply Current: 4 mA per channel    Microphone Dimensions: 270mm X 39mm (base) X 25mm (top) (10 5/8"X 1.5" X 1")    Weight: 583 grams (20.5 oz)    Finish: Dull Satin Nickel, Optical Black finish optional