TAC_Matchless_Knobs_01
TT Cables
Otari MTR-90
Morley Wah into Boss Giga-Delay
Some stacks of gear
PT Screen angle
Control A from behind Otari
Ludwidg in Studo A 02
Brian contemplates racks of stuff
Magic Fingers!
Ampex 354
Ludwig in Studio A 03
Piano
Otari MTR-90 and Auto Locator
TAC Faders diagonal 01
AT 4033's overheads
Otari MTR-90 Auto Locator
Blue Dragon Fly

Royer Labs SF-12 Stereo Ribbon

The 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 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you'd like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self distortion. When you boost a frequency, even by many dB, you'll bring up only the musical response you're looking for without unpleasant distortion artifacts joining the party.

Phase compatibility between the two sides of the SF-12 is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the "sweet spot" of a mono microphone. Either side of the SF-12 can also be used individually as a mono microphone.

gear category: 
microphone
lives in DNA studio: