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to capture detail make it a fine choice for many instruments, as well as for general
broadcast applications. Its gentle low-frequency proximity effect makes it especially
useful for announcers and vocalists. Female vocalists often benefit from the SF-1’s ability
to capture high frequencies without distortion or edginess. Orchestral instruments are
captured in a very natural sounding way, free from microphone-induced “hype.” The SF-
1 has exceptionally smooth high frequency characteristics. Phase-related distortion and
irregular frequency peaks are conspicuously absent. Theater organs and electric guitar
amplifiers sound big and fat, without unnatural coloration, when reproduced with the SF-
1. These features make the SF-1 ribbon microphone an ideal choice for strings,
woodwinds, percussion and amplified instruments. Acoustic pianos can be captured
accurately without the comb-filtering effects associated with condenser microphones.
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Using The SF Ribbon Microphone
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The SF-1 ribbon microphone is a versatile device capable of accurate sound reproduction.
There are a few important facts about ribbon microphones that are key in understanding
how to use them intelligently.
1. The SF-1 is a
side address
, bi-directional microphone and the rejection in the “dead”
areas is very strong. Due to this directionality, ribbon microphones should be placed at
1.3 times the distance normally used with omni-directional microphones, or about the
same distance used for cardioid microphones. This method is used to achieve the same
ratio of direct to reflected sound.
2. In the horizontal plane, ribbon microphones do not discriminate against the “highs”
off axis; nor do they boost them on axis. Therefore, several instruments or vocalists can
be placed in front of the microphone without favoring the performer in the center of the
group.
Several performers can be grouped at both the front and back of the microphone, with one
proviso: Since the outputs are out of phase at the front and back of the microphone,
cancellation can result if two tenors are placed at opposite sides at equal distances and
they are singing in unison, so listen to the feed before committing to it.
2.
When using a ribbon microphone with loud signal sources, placing the microphone
slightly off axis to the signal source is all that is required for efficient operation.
3.
The Royer model SF-1 requires no power supply and is safe to use on consoles with
phantom microphone powering, provided that the cabling is properly wired. It should be
noted that not all ribbon microphones are compatible with phantom-powering systems,
so check the manufacturer’s recommendations before using other ribbon microphones. It
should also be noted that faulty or improperly wired cables could cause problems with
your SF-1.
5. Never attempt to “test” the SF-1 or any ribbon microphone with an ohmmeter. A
