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Care and Maintenance

1. The  SF-2 is a solidly built,  precision instrument. Keep  the following  commonsense  rules in 

mind when using and/or storing it and it will last a lifetime. 

2. Do not expose  the microphone  to severe  shock  or vibration,  which  could stretch the  ribbon 

element.  If  the  microphone  is accidentally  dropped,  test  it  to see  if  it  was damaged  before 
returning it to service. Low output or a dull sound would indicate a stretched ribbon.

3. Do not expose the microphone to direct blasts of air or strong air currents. Use a windscreen 

or  suitable  blast  filter  when close  miking vocalists or  certain types of wind instruments.  P-
popping  does not  necessarily  damage  the  ribbon  element,  but  it  may  produce  unacceptable 
preamplifier overload or cause damage to speaker systems.

4. Do not expose the microphone to liquids or caustic smoke.

5. Use  a  soft  cloth  to clean the microphone  body. A small  amount of denatured alcohol can be 

used to remove fingerprints and other stains.

6. Keep metal filings away from the microphone at all times. The SF-2’s powerful magnets can 

attract minute ferrous particles into the  ribbon transducer. If these particles reach the ribbon 
element, the microphone will generate a scraping sound and a re-ribbon will be required. 

7. When not in use, store the microphone in its protective wooden case. If the microphone  is to 

remain set up on a mic stand between sessions,  cover it with its mic sock (provided with your 
SF-2).  Due  to  Royer’s  patented  direct-corrugation  method,  the  microphone  can  be  stored 
horizontally without damaging the ribbon element. 

8. Leave  disassembly of the  microphone  to a  trained technician. There  are  no  user-serviceable 

parts inside.

Caution!

Keep  recorded  tapes,  spring-wound  watches  and  personal  credit  cards  using  magnetic  coding 
away from the microphone to prevent possible damage  to these items by the transducer’s strong 
magnets.
 

Care for the Optical Black Finish

The SF-2's optical black finish is a sophisticated surface treatment designed to refract light rather 
than reflect  it. This makes the  microphone  appear  less conspicuous,  especially  when  used  with 
high  intensity lighting  or  within  a  camera  shoot. The  finish  requires occasional  maintenance  to 
retain a smooth, even appearance and to maintain its unique optical qualities. 

The  SF-2's  body  is  comprised  of  a  low-carbon  steel  alloy.  Its  finish  consists  of  black  chrome 
deposited  over  a  nickel  substrate,  creating  a  finish  that  minimizes  the  reflective  nature  of  the 
metal  surface. A small amount  of oil  has been worked into the  finish at the  factory to protect  it. 

15

Содержание Active Ribbon SF-2

Страница 1: ...Royer Labs Model SF 2 Active Ribbon Velocity Microphone Operation Instructions Manual User Guide Made in U S A ...

Страница 2: ...n 8 The Sweet Spot 9 Finding and Working with the Sweet Spot 9 Other Types of Microphones 9 Proximity Effect and Working Distance 10 The Sound That is More Real than Real 10 Microphone Technique 11 General Tips for Using Ribbon Microphones 11 Recording Loud or Plosive Sounds 12 Stereophonic Microphone Technique 13 Classic Blumlein Technique 13 Mid Side Technique 13 Care and Maintenance 15 Care for...

Страница 3: ...iliar with the SF 2 s capabilities It will assist you in making the most of the microphone s superior acoustic properties This owner s manual is a handy reference guide and we suggest you refer to it whenever questions arise on the use and care of your SF 2 ribbon microphone Active Ribbon Technology The SF 2 is distinguished by its cross field ribbon transducer and its proprietary electronic syste...

Страница 4: ...Please keep this in mind as you use your SF 2 Handled carefully it will be many years before you need to re ribbon your microphone ribbons can last indefinitely if not abused Ribbons in the Digital World Digital recordings benefit greatly from the properties inherent in ribbon microphones Since A D converters cannot distinguish between the sound source being recorded and the complex distortion com...

Страница 5: ...ecting the microphone bring the channel faders down and unplug the microphone cable ends It is also advisable to turn off the phantom power before unplugging the microphone whenever possible Operation 1 The SF 2 is a side address figure 8 bi directional microphone and the rejection in the null points is very strong The null points are the sides top and bottom of the microphone Engineers use the nu...

Страница 6: ...aximum isolation from shock and vibration while holding the SF 2 securely in place allowing the microphone to be safely positioned at any angle Carefully slide the SF 2 into the RSM 24 lining up the microphone s logo with the RSM 24 s forward facing slot The fit will feel tight but the RSM 24 s Teflon interior will not scratch the microphone s finish Amplification Considerations Most quality micro...

Страница 7: ...ing the preamplifier s input stage electronics Some preamplifiers are more thoughtfully designed than others with a suitable pad that is placed before the preamp s active electronics Other pre s may have a pad incorporated into a feedback loop which could still produce distortion due to overloading even when the pad is engaged Although this is not often an issue we felt it was important to cover t...

Страница 8: ...ormers which repel magnetic radiation Hum can only come from external sources and simply repositioning a ribbon microphone is the best way to control it If hum is detected the microphone is in the proximity of an alternating magnetic field While listening to the mic s output preferably with headphones move the mic around It will find the noise source quite easily For example if you are miking a gu...

Страница 9: ... sweet spot effect 1 Frequency response variations due to proximity effect 2 Frequency response variation due to treble losses as a result of absorption and narrowing of the pattern at high frequencies causing weakening of highs as the microphone is moved away from the sound source 3 Variation in ratio of direct to reverberant sound 4 Tendency of a microphone to favor the nearest sound source due ...

Страница 10: ...ll be cut back by upwards of 20 dB compared to an unequalized microphone with a flat response Another area where proximity effect can be turned to an advantage is in making things sound more real than real For example many voices and certain musical instruments produce fundamental frequencies within the bass range below 150HZ or so but the fundamentals are weak In a worst case if a microphone whic...

Страница 11: ...comb filtering The bass is full and rich while the top remains clean with no clatter Mic the piano at a distance of one foot to several feet depending on taste A more direct upfront sound will be achieved when the microphone is placed closer to the soundboard For capturing a piano in stereo place the SF 2 s apart one over the bass strings and the other over the high strings The farther the mics ar...

Страница 12: ...a drum set placing the microphone s at a distance of three to five feet above the kit works very well The SF 2 is not recommended for use as a kick drum mic or close miking individual drums toms etc Recording Loud or Plosive Sounds Always remember that with ribbon microphones wind is the enemy Air movement is far more damaging to ribbon microphones than high SPL s Some sound sources can generate p...

Страница 13: ... the reproduction can be very satisfying Figure 1 Classic Blumlein or coincident miking technique Mid Side Technique In the early days of stereo radio broadcasting there was need for a mic setup that would allow for simultaneous stereo and mono feeds from the same mic array The result was what is now known as the mid side microphone technique One mic faces sideways one faces forward as shown in Fi...

Страница 14: ... on separate tracks the electrical connections shown in Figure 3 can be made at the mixer outputs and the adjustment of the stereo separation can be done during mixdown rather than during the actual recording This is very useful for live recording Figure 3 Typical M S connection set up 14 MID SIDE ...

Страница 15: ...e will generate a scraping sound and a re ribbon will be required 7 When not in use store the microphone in its protective wooden case If the microphone is to remain set up on a mic stand between sessions cover it with its mic sock provided with your SF 2 Due to Royer s patented direct corrugation method the microphone can be stored horizontally without damaging the ribbon element 8 Leave disassem...

Страница 16: ...inal luster Features and Specifications SF 2 Features Smooth wide frequency response Active electronics offer greatly enhanced output and deliver a constant optimized impedance to the ribbon element Extremely low residual noise Ribbon element is unaffected by heat or humidity Absence of high frequency phase distortion Excellent phase linearity even off axis Equal sensitivity from front or back of ...

Страница 17: ...nsions 142 mm x 39mm base x 25mm top Finish Matte Black Accessories Protective presentation case mic sock Shock mount documentation Deluxe packaging is available Microphone Warranty Lifetime to original owner repair or replace at Royer s option Ribbon element not included in the lifetime warranty Ribbon Element Warranty One Year 17 ...

Страница 18: ...Polar Pattern Frequency Response 18 ...

Страница 19: ... date of original purchase and for the respective periods specified above Royer Labs agrees to repair at its sole expense all Royer Labs products which are defective in material and workmanship EXCLUSIONS This warranty does not cover the following 1 Defects or damage caused by accident fire flood lightning or other acts of nature 2 Defects or damage caused by abuse misuse negligence or failure to ...

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