Royer Manual

cause the microphone to become inoperative. Since the active electronics isolate the ribbon
element from phantom power, a miswired cable should not cause damage to the ribbon.
5. Never attempt to “test” the SF-2 or any ribbon microphone with an ohmmeter. A blown
ribbon could result.
6. Always provide adequate wind protection by using a windscreen or mic sock with your SF-2
(and any other ribbon microphone).
7. If the microphone is to remain set up on a stand when not in use, place the provided mic sock
over it until it is to be used. Do not carry the microphone around without placing a mic sock
over it. Failure to follow this commonsense practice may yield a stretched ribbon and
compromised performance.
Using the RSM-24 Shock Mount Accessory
Description
The SF-2 comes standard with an SFS-2 shock mount. This mount is operated by squeezing the
clip side of the shock to widen its felt-lined interior, inserting the microphone, then releasing the
clip to hold the mic securely.
The SF-2 with Deluxe packaging is supplied with a Royer RSM-24 suspension type shock
mount. The RSM-24’s specially formulated polymer mounts provide maximum 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 microphone preamplifiers with nominal to high-gain characteristics and a built-in
48-volt phantom power source will give good results with your SF-2 active ribbon microphone.
Unlike standard ribbon microphones, which depend on a proper impedance match to deliver
optimal performance, the input impedance of your preamplifier will have minimal effect on the
SF-2’s performance because the ribbon element is loaded perfectly via the microphone’s internal
electronics. Careful consideration should be given to the quality of the microphone preamplifier.
Studio grade preamplifiers usually sound much better than cheaper models. Headroom, noise
floor, transparency and coloration are all factors to consider in determining which preamplifier is
suitable for your studio or live applications. Other features are usually secondary and fall into the
categories of convenience or interface capabilities (such as digital or optical outputs).
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