royer Active Ribbon SF-2 Administrator Guide

Royer Labs
Model SF-2
Active Ribbon™ Velocity Microphone
Operation Instructions Manual
& User Guide
Made in U.S.A.

TABLE OF CONTENTS
Model SF-2 Ribbon Microphone
Introduction!3
Active Ribbon™ Technology!3
Description!4
Applications!4
Ribbons in the Digital World!5
User’s Guide!5
Using the SF-2 Active Ribbon™ Microphone!5
Operation!6
Using the RSM-24 Shock Mount Accessory!7
Description!7
Features!7
Usage!7
Properly Inserting the Microphone into the Shock Mount!7
Amplification Considerations!9
Equalization and Ribbon Microphones!9
Hum, Noise & Mic Orientation!10
The Sweet Spot!11
Finding and Working with the Sweet Spot!11
Other Types of Microphones!11
Proximity Effect and Working Distance!12
The Sound That is “More Real than Real”!12
Microphone Technique!13
General Tips for Using Ribbon Microphones!13
Recording Loud or Plosive Sounds!14
Stereophonic Microphone Technique!14
Classic Blumlein Technique!14
Mid-Side Technique!14
Care and Maintenance!16
Care for the Optical Black Finish!16
Features and Specifications!17
SF-2 Features:!17
SF-2 Specifications:!17
Polar Pattern!18
Frequency Response!18
Warranty!19

Introduction
Congratulations on your purchase of a Royer Labs model SF-2 active ribbon™ microphone. The
SF-2 is a handcrafted precision instrument capable of delivering superior sound quality and
overall high performance. This operator’s manual describes the SF-2, its function and method of
use. It also describes the care and maintenance required to ensure proper operation and long
service life. The users guide section of this manual offers practical information that is designed
to maximize the performance capabilities of this microphone. Royer Labs products are
manufactured to the highest industrial standards, using only the finest materials obtainable. Your
model SF-2 went though extensive quality control checks before leaving the factory. Normal
care, given to any quality instrument, is all that is required to assure years of trouble-free service.
Please read this manual thoroughly in order to become familiar with all of 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
Royer Labs developed the world’s first commercially available phantom-powered and vacuum
tube ribbon ribbon microphones. The heart of the SF-2 is its proprietary electronic system
consisting of a specially designed toroidal transformer and electronic buffering stage. This
system provides excellent frequency response, extremely low noise and distortion, and high SPL
handling (130 dB) without the use of a pad. It gives the SF-2 an output level comparable to that
of condenser microphones, and its buffer stage provides a low impedance output and presents an
optimum load to the ribbon element. Unpowered ribbon microphones suffer substantially
degraded frequency response and lowered gain when they are paired to a preamp with too low of
an input impedance.
With the SF-2’s active electronic system, the microphone’s frequency response and output are
much less affected by variations in the input impedance of the following preamp. Sonically the
SF-2 differs from the unpowered SF-1 in one subtle way: due to the extra iron in the SF-2’s
much larger transformer, low-end frequencies sound slightly tighter and more focused.
Key Points:
• No longer is it necessary to mate a ribbon microphone to an ultra-high gain, low noise
preamplifier for optimum performance. Any preamplifier of nominal gain will provide
good results with the SF-2.
• No longer is it necessary to carefully consider impedance matching characteristics when
choosing a preamplifier. Microphone loading is a non-issue and consistent performance is
assured, regardless of the preamplifier’s impedance characteristics.

• No longer is it necessary to be concerned about damaging the ribbon element with
phantom power. The active electronics need phantom power to operate - a first for ribbon
microphones.
• No longer is it necessary to worry about the effects of long cable runs degrading the
performance of your ribbon microphone. The active electronics provide a robust low
impedance signal that can handle long cable lengths with minimal loss of signal.
Description
The Royer Labs model SF-2 is an ultra compact bi-directional (figure-eight) velocity type ribbon
microphone designed for professional applications. The figure-eight pick-up pattern allows the
SF-2 to be addressed from either side with equal sensitivity. The in-phase signal is achieved
when the microphone is addressed from the front, indicated by the “ROYER” logo.
The SF-2 is reasonably tolerant to shock and vibration, and is unaffected by changes in
temperature or humidity. However, ribbon microphones are sensitive to direct blasts of air and
the SF-2 is no exception to this rule. Discretionary use of a windscreen or pop-filter, such as the
WS58, PS-101 or equivalent, is highly recommended for situations such as close miking,
especially with vocalists or certain types of percussion and wind instruments.
It is important to note that although Royer ribbon microphones are known to be tough and
durable they still must be treated with the respect offered to any fine instrument. While all
Royer’s are built to last a lifetime, the thicker ribbon element in our R-series mics can take more
abuse than the finer, somewhat more delicate ribbon element in your SF-2. The SF-2 can handle
over 130 dB SPL, while the R-121 can handle levels greater than 135 dB SPL. Please be aware
of this as you use your SF-2. When handled with care, it will be many years before you need to
re-ribbon your microphone (ribbons can last indefinitely if not abused).
Applications
The Royer Labs model SF-2 is a versatile microphone and is ideally suited for many critical
recording applications. Its smooth frequency response characteristics and ability to capture detail
make it a fine choice for many instruments. Orchestral instruments are captured in a very natural
sounding way, free from microphone induced “hype.” The SF-2 has exceptionally smooth high
frequency characteristics. Phase-related distortion and irregular frequency peaks are
conspicuously absent. Theater organs and electric guitar amplifiers sound big and fat, without
unnatural coloration, when reproduced with the SF-2. These characteristics make the SF-2 ribbon
microphone an ideal choice for strings, woodwinds, percussion and all acoustic instruments.
Acoustic pianos can be captured accurately without the comb-filtering effects associated with
condenser microphones.

Ribbons in the Digital World
Digital recordings benefit greatly from the properties inherent in ribbon microphones. Since A to
D converters cannot distinguish between the sound source being recorded and the complex
distortion components often associated with condenser microphones, they sometimes have
difficulty tracking the signal, resulting in ringing and edgy-sounding tracks. With ribbon
microphones, ringing is almost nonexistent due to the ribbon’s lack of distortion artifacts and
high-frequency peaks. A to D converters have less difficulty tracking the ribbon-generated signal,
resulting in very smooth digital recordings free of microphone-related edginess.
User’s Guide
Using the SF-2 Active Ribbon™ Microphone
The head amplification system in the SF-2 was designed to operate with standard 48-volt simplex
phantom power sources only. The microphone will not work at all if phantom power is not
provided to the microphone! This aspect of an active ribbon microphone is in sharp contrast to
conventional ribbon microphones, in which phantom power usually spells danger or destruction
to the ribbon element. Royer’s active series ribbon microphones require phantom power to
operate. To ensure long service life of your SF-2 active ribbon™ microphone, care should be
taken when connecting the microphone to a phantom power source. We have prepared a few tips
to ensure that your SF-2 will perform perfectly for many years. We offer the following
information as a general set of good habits that apply to both active ribbon mics and solid-state
condenser microphones.
1. Although it is usually safe to “hot plug” most phantom-powered microphones to a
preamplifier or console with the phantom activated, we suggest that if it is possible to
deactivate the phantom power prior to plugging in the microphone, do so. This minimizes
any chance of random voltage surges entering the microphone. More importantly, it
reduces the possibility of loud pops being transmitted to your monitor speakers should
the volume control be raised. Serious damage to your speakers could result from this
oversight.
2. Be certain that the input channel fader or volume control is set to minimum before
plugging in any microphone. Preamplifier gain trim should be set to minimum. Plug the
microphone in and activate the phantom power switch. The microphone’s electronics will
stabilize in a few seconds.
3. When the microphone becomes operational, bring the channel fader to 0-dB (unity) and
use the gain-trim to set the desired level. This technique maximizes the signal-to-noise
performance of the preamplifier or console input channel.

4. When disconnecting 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.
5. If the studio has the microphone lines brought to a patch bay (tie lines), never crosspatch
a microphone line when phantom power is applied or the monitor volume is raised. This
could cause damage to your microphone, preamplifier or monitor speakers.
Operation
The SF-2 ribbon microphone is a versatile device capable of accurate sound reproduction. There
are a few important facts about ribbon microphones that are key in understanding how to use
them intelligently.
1. The SF-2 is a side address, figure-8 (bi-directional) microphone and the rejection in the
“dead” areas is very strong. The dead areas are the sides, top and bottom of the
microphone. Engineers use the dead areas of figure-8 microphones to isolate instruments
by positioning the mics in such a way that the dead areas face, and cancel, offending
sound sources.
2. In the horizontal plane, ribbon microphones do not discriminate against the “highs” off
axis; nor do they boost them on axis. Therefore, several instruments or vocalists can be
placed in front of the microphone without favoring the performer in the center of the
group. Several performers can be grouped at both the front and back of the microphone,
with one proviso: Since the outputs are out of phase at the front and back of the
microphone, cancellation can result if two tenors are placed at opposite sides at equal
distances and they are singing in unison, so listen to the feed before committing to it.
3. When using a ribbon microphone with loud signal sources, placing the microphone
slightly off axis to the signal source is all that is required for efficient operation.
4. The Royer model SF-2 is a phantom-powered microphone and must be connected to a
preamplifier or console cable of delivering 48-volts at a minimum of 4-milliamperes.
Faulty or improperly wired cables could cause your SF-2 to become inoperative. Since
the active electronics offer electrical isolation to the ribbon, a mis-wired 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 protection by using a windscreen or mic sock with your SF-2,
or any 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
Your SF-2 is supplied with a Royer RSM-24 suspension type shock mount designed specifically
for this microphone. 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.
The RSM-24’s Delrin support tubes are relieved on the inside to minimize contact with the
microphone. Teflon strips are bonded to the inside of the Delrin tubes and serve as a means to
slide the microphone in and out of the shock. It is normal for the Teflon strips to develop wear
marks with repeated use.
Features
The shock mount easily accommodates standard 5/8"- 27 male microphone stand threads. The
support frame is machined from solid T-6 hard aluminum, then black anodized for long life and a
clean unobtrusive appearance. The clutch mechanism provides easy positioning of the shock with
minimal pressure. There is also a relief button that enables the clutch handle to be repositioned
out of the way. The RSM-24 shock mount was originally designed for our SF-24 stereo ribbon
microphone, so it has two orientation slots: one for on-axis recording (A-slot) and one positioned
at 45° left of center (B-slot) for easy X-Y and M-S positioning. When recording with the SF-2
use the A-slot.
Usage
It is important to use the RSM-24 shock mount correctly.
Making sure that the microphone is inserted properly into the
shock mount will minimize any chance of the mic coming
loose and will ensure proper orientation of the transducer
element. It is also important to make certain that the mic is
inserted and removed gently to avoid unnecessary shock to
the ribbon.
Properly Inserting the Microphone into the Shock Mount
Examine the shock carefully. Observe that the upper Delrin
support tube has one slot inside the tube that faces forward,
the same direction as the logo, and one slot that faces 45º to
the left of center. The forward (A) slot is used to orient the
center, on-axis position of the microphone. The microphone
Figure 1

is inserted in such a manner that the "ROYER" logo on the microphone nestles comfortably in
this slot (Figure 1).
Hold the mic by placing the transducer (ribbon element) end in
the palm of one hand. While holding the shock mount in the
other hand, gently insert the microphone's base into the upper
tube first. Be sure that the logo on the microphone aligns itself
with the slot in the upper support tube as you feed the mic
through (Figure 2). Continue to feed the microphone through
the upper tube and into the lower tube, where it will stop when
it reaches the lip at the bottom of the lower tube. Do not force
or jerk the microphone into position!
Removing the Microphone from the Shock Removal is simply
the reverse process. Firmly grip the microphone with one hand
and gently slide it out of the shock (Figure 3). It may help to
gently push from the bottom of the microphone while
removing it from the lower tube. Again, be sure not to force or
jerk the microphone. Ribbon elements are sensitive to abrupt
shocks and blasts of air, so be gentle (Figure 3).
Note:
If, after a time, body oils or other contaminants make it
difficult to insert or remove the microphone from the shock
mount, a small amount of talc can be used to "lubricate" the
microphone housing. Use talc very sparingly and do not let
any of it get into the ribbon transducer, as it can compromise
the ribbon’s performance. Connecting the SF-2
Although the active electronics are robust and the ribbon
element is electronically isolated from the outside world, it is
wise to make all your electrical connections prior to activating
phantom power. Avoid cross-patching any microphone tie
lines with phantom power activated, as this is equivalent to
having a momentarily "defective" cable as the patching cords
are inserted. This not only stresses the microphone's
electronics but can harm a phantom power source and produce
loud thumps in your speakers.
Since the SF-2 is active, its low impedance output allows for long cable runs with minimal effect
on the microphone’s performance. High-frequency response losses and noise pickup will be
minimal even with cable runs up to several hundred feet.
Figure 2
Figure 3

Amplification Considerations
Most quality microphone preamplifiers with nominal to high gain characteristics and a built-in
48-volt phantom power source will achieve excellent 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
ones. 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 category of conveniences or interface capabilities (such as
digital or optical outputs). A good preamplifier should sound natural, with no sign of edginess or
excessive noise. Vacuum tube preamplifiers sound warm, yet wonderfully airy and transparent.
Do not expect a vacuum tube preamplifier to be as quiet as a solid-state preamp, as electron
emissions from tubes tend to convey more “thermal” noise than transistors. Tube preamplifier
noise is far less of an issue with the SF-2 than with conventional ribbon microphones because the
SF-2’s high output will override the noise. Transformer coupled designs tend to sound punchy
and full bodied and offer the added benefit of true electronic isolation. This greatly enhances
their ability to interface with other equipment with minimal noise or hum.
There are many excellent preamplifiers on the market today. Choose one that fits your budget and
offers good performance, but remember that you get what you pay for. If you have the
opportunity to audition one or more preamplifiers before you buy one, do so. Microphones and
preamplifiers work together as a team and some are just better matches than others.
The SF-2 is capable of substantial output signal, especially when used for high SPL applications
like drum overheads. It will not overload or produce distortion up to its SPL handling capacity of
130 dB SPL. In actuality, the SF-2’s ribbon would stretch before its electronics would reach an
overload condition. Due to the high output potential of the SF-2, it is recommended that the
microphone preamplifier you pair it with have a switchable pad to prevent the possibility of
overloading 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, not
incorporated into a “feedback loop” as is sometimes found. The latter design could still produce
distortion due to overloading even if the pad were used. Although this is rarely an issue, we felt
that it was important to cover the subject.
In conclusion, preamplifier coloration is optional and a matter of personal taste. Some people
love the effect of coloration while others strive for absolute transparency.
Equalization and Ribbon Microphones
One of the great strengths of ribbon microphones is how well they respond to EQ. Even with
substantial amounts of equalization, ribbons retain their natural, “real” quality. For example,
where a lead vocal is being performed on a ribbon microphone, you can actually boost the upper

end frequencies to the point where the ribbon mic emulates the performance curve of a
condenser mic with excellent results. This is not to say that a ribbon microphone can replace a
quality condenser mic, but the EQ friendliness inherent in ribbon microphones does allow for an
enormous amount of flexibility.
Ribbon mics take EQ so well because of their inherent low self-noise and unusually smooth
response characteristics. Dialing in high amounts of equalization on condenser or dynamic
microphones also means dialing in extra amounts of the microphone’s distortion products and
self noise: garbage that contributes to an unnatural, unpleasant sound. Because distortion and
self-noise are almost non existent in ribbon microphones, high levels of EQ can be used without
adding harshness or excessive noise.
Hum, Noise & Mic Orientation
All dynamic microphones, including ribbons, are susceptible to picking up stray alternating
magnetic fields. 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. In some cases, complete
isolation is not possible and the result is usually hum or buzz. 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 worse.
The SF-2 reduces this condition because the essential gain is provided at the microphone,
negating the need for additional gain to be supplied by the preamplifier. In addition, the Royer
SF-1, SF-12, SF-2 and SF-24 family of microphones are designed to minimize the effects of
unwanted radiation by integrating the transducer barrel as part of the magnetic return circuit.
Royer’s SF-series ribbon microphones go one step further; incorporating toroidal impedance
matching transformers that have a natural ability to repel magnetic radiation. Unwanted noise
(hum) can only come from external sources. Fortunately, simply repositioning a ribbon
microphone is the best way to get rid of unwanted noise. If hum is detected, the microphone is in
the proximity of an alternating magnetic field.
While listening (preferably with headphones) to the mic, move it around. The mic will “find” the
noise source quite easily. For example, if you are miking a guitar amplifier and suspect the
amplifier’s power transformer may be the source of unwanted 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 finding the “null” point of the hum. 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. There will be a “magic position” where the hum disappears
completely. Hum and other noise can even be picked up by microphone cables. Since the output
of Royer Active Series mics is 15 to 25 dB higher than with traditional ribbon microphones, any