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Hum, Noise & Mic Orientation

All  ribbon  microphones  are  susceptible  to  picking  up  stray  alternating  magnetic  fields,  which 
show  up  in  the  audio  signal  as  hum.  Power  transformers  (such  as  those  found  in  guitar 
amplifiers)  and  alternating  current  motors  are  the  most  likely  sources  of  hum.  In-wall  wiring, 
solid-state light dimmers, and electrical utility transformers are other likely sources. 

A well  designed microphone provides shielding to minimize  the  effects of  such  stray magnetic 
radiation. Complete  isolation  is not  possible  however  and unpowered  ribbon  microphones  can 
manifest  this  condition  to  a  greater  degree  because  of  their  higher  gain  requirements.  With 
vintage  ribbon  microphones  that  often  employ  large,  bulky  magnet  structures  and  are  often 
poorly shielded, the problem can be even worse.

The  SF-2  reduces  induced  hum  in  three  ways.  Because  the  essential  gain  is  provided  at  the 
microphone,  there is no need to push the preamplifier for excessive (hum producing) gain. Royer 
SF microphones (SF-2,  SF-12,  SF-24 and SF-24V) are also designed to minimize the  effects of 
stray radiation by integrating the  transducer barrel as part  of  the magnetic  return circuit,  further 
reducing hum potential. Lastly, all SF-series ribbon microphones incorporate toroidal impedance 
matching transformers, 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 guitar amplifier and suspect 
the  amplifier’s power transformer to  be  the  source  of hum,  move  the mic around  the  amplifier. 
You will  probably find that the hum is louder as you approach the amplifier’s power supply and 
quieter when you move it away. Eliminating the hum can be fairly simple and requires using the 
“null”  point  of  the  microphone.  The  null  point  is  the  position  that  places  the  microphone’s 
magnetic  components  away  from  the  lines  of  the  noise's  radiation.  Slightly  rotating  the 
microphone is usually all  that is required to cancel  out  the hum. This is similar to the procedure 
guitarists  use  to  eliminate  hum  from  single-coil  guitar  pickups,  turning  around  slowly  while 
listening for the hum to cancel. There will be a position where the hum disappears from the mic’s 
output. Hum  and other noise can even  be  picked up by microphone cables. Since  the  output of 
Royer Active Series mics is 15 dB to 25 dB higher than with traditional ribbon microphones, any 
noise picked up in the mic cables will be at a corresponding lower level and thus less likely to be 
objectionable.

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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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