User Manual

Percussion

The SF-12 records percussion instruments naturally, without upper frequency hype or low-end

boominess. Congas, bongos and the like can be recorded with left/right stereo effect by

positioning the mic within a few feet of the instruments. Shakers, bells, triangles and other

instruments that are often problematic in the upper frequencies will record naturally and non-

abrasively.

Vocal with Acoustic Guitar

For recording a vocal with acoustic guitar, two separate mono tracks

are required with little leakage between the tracks. One stand and one

SF-12 can do the job nicely when the two axes of sensitivity are

correctly oriented (see illustration).

Note:

The SF-12 is not recommended for close-miking loud ampliﬁed

instruments. Its sensitive ribbon elements were not designed for

extremely high SPL applications like close-miked electric guitar. For

close-miking high SPL sound sources, ruggedness is a must and we

recommend using our R-121, R-122, or R-122V ribbon microphones.

Specialized Stereo Recording Techniques

Classic Blumlein Technique

For many years, “coincident” microphone setups have been widely used for picking up sounds in

stereo as naturally as possible. The “Blumlein” technique, named for A.D. Blumlein, involves the

use of two ﬁgure-eight microphones positioned as in

the sketch (see Figure 1); one mic faces left and the

other faces right, at an angle of 90¼ (i.e., each

displaced 45¼ from center).

Each microphone ultimately feeds one speaker in a

stereo system and, due to the directionality of the

microphones, the result is a very well deﬁned stereo

image on playback. For classical music particularly,

the reproduction can be very satisfying.

The SF-12 stereo microphone is two identical ribbon

microphones in just this Blumlein orientation: if the

microphone is placed in front of the performance,

with the Royer logo facing the center of the ensemble

to be recorded, the microphone will give a stereo

recording as per the Blumlein technique. Because of

the togetherness of the SF-12’s ribbon transducers,

sound will arrive at both ribbon elements at the same

Figure 1