User guide

produced by switches and adjustments. Its small size and matte black chrome finish

create a minimum disturbance of the visual field, especially important where the

microphone must not obstruct the view of an audience or of a motion picture or TV

camera.

The SF-12 is easy to use, robust and reliable. Neither temperature nor humidity affects it.

SF-12 has numerous applications. Along with its useful-ness as an overhead drum mic, a

stereo acoustic piano or guitar mic, and organ recording, it can be applied to motion

pictures because of its natural stereo capabilities. It is also very useful for recording

ensembles such as big bands, orchestras and jazz groups.

Because of the coincident crossed figure-8 pattern of this product, it is eminently suitable

for M-S (mid-side) recording. Once a recording has been completed using the proper

orientation, the soundfield can be adjusted from pure monophonic on one hand to “super

wide” stereo on the other.

Although spaced microphones can produce some of these results, such recordings can

suffer from “comb filter” effects -peaks and dips in the frequency response as the

soundfield is adjusted. When the SF-12 is used, however, only the feeling of space

changes. The sonic quality does not. More detailed information on M-S techniques is

presented in the literature supplied with the SF-12, or in manuals accompanying

commercial M-S equipment.

While the SF-12 yields excellent results in the recording or broadcasting of material “on a

grand scale”, its suitability for the recording studio is astounding. To prove the point,

here are three typical examples:

1. Object: to record 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 of two, when the two axes of sensitivity

are correctly oriented.

2. Object: to record a drum kit. The wide

bandwidth and superb frequency response of

the SF-12 capture every percussive nuance, and

a touch of EQ can be used, if necessary, to bring out various

elements. Experience has shown that an additional microphone on

the kick drum is often all that is required. Meanwhile, the “dead”

axes can reduce leakage from unwanted sound sources.

3. Object: to record strings accurately. String overdubs fare well

when the SF-12 is used, because of its “wall-to-wall” stereo imaging and uniform, smooth

frequency response.