SF-12 Features
・Stereo recording with a single microphone
・Recording
・High SPL design
・Non-active circuit design that prevents overload and distortion even at maximum SPL
・Ultra-low residual noise characteristics
・Ribbon element unaffected by heat or humidity
・High frequency range with no phase distortion
・Maintains consistent sensitivity on front and back
・Highly efficient stereo matching
・Toroidal transformer
・Magnetic leakage prevention structure The SF-12 is a stereo ribbon microphone with exceptional audio quality, delivering clear stereo imaging and separation. Its modern ribbon design eliminates diffraction and cavity resonance. Two matched stereo ribbon microphones are housed within a single microphone, angled 45 degrees to the left and 90 degrees to the right, similar to a "Blumlein pair" setup. Excellent frequency response ensures tonal integrity even with changes in microphone distance, orientation, and axis. The SF-12 uses a ribbon that is 1.8 microns thin and weighs approximately 0.3 grams, resulting in exceptional transient response. The ribbon transducer's magnet-polepiece construction produces a wide, balanced frequency response without sharp peaks or dips. The SF-12's connection cable includes a 5-pin XLR-to-two 3-pin XLR Y-adapter, labeled "Upper" and "Lower," corresponding to the microphone's upper and lower capsules. The SF-12 excels at "audio-realistic" stereo recording, capturing not only the instruments but also their acoustic characteristics, depending on the microphone positioning. Listen carefully to the instruments and ensembles in your recording environment and you'll find which positions sound best. Then, place the SF-12 there and you'll capture that sound as it is. You can hear the amazing sound on Royer's demo CD, where an engineer used a single SF-12 in the optimal position to capture a stunning recording of the Ukrainian Radio Orchestra. (The conductor initially balked at the idea of ​​recording with a single microphone, but after hearing the recording, he invited the engineer, along with the SF-12, to record his orchestra many times.) The SF-12 is ideal for drum overheads, and its clear stereo imaging beautifully reproduces dynamic, powerful drum tracks. Recording a jazz kit flat results in surprisingly natural cymbals, toms, and snares. For a rock or pop kit, for an aggressive recording that captures the core of the drums while adding air from the cymbals, try boosting the top end with an EQ. Its virtually nonexistent self-distortion makes it a natural match for EQ. No matter how many dB you boost, only the musical components are brought out without introducing unpleasant distortion. Recording in Mono: The SF-12's excellent phase accuracy between both microphones allows you to combine two mono channels into one track without the need for phase correction. This is particularly useful when recording a wide sound field in mono, such as a singer who tends to miss the sweet spot. Either side of the SF-12 can also be used individually as a mono microphone. Applications: Drums (overhead) / Percussion / Electric & Acoustic, Guitar / Strings / Piano / Brass, Woodwinds / Horns / Harp / Chorus / Orchestra / Ambience / Stereo to Mono. Polar Pattern: Bidirectional. Material: 1.8 microns. Aluminum Ribbon. Frequency Response: 30-15,000Hz +/-2dB. Sensitivity (0dB=1V/1pa): -52dB. Output Impedance: 300Ω. Rated Load Impedance: 1500Ω. Maximum Sound Pressure Level (SPL): 130dB. Connector: XLR 5-pin (stereo). Size: H: 206mm x W: 25mm. Weight: 369g. Finish: Matte Black. Chrome. ■Product Code: 4562218724742. Category: PA equipment, microphones, condenser microphones, musical instruments, crafts, and collections, musical instruments, equipment, recording, PA equipment, condenser microphones. JAN/ISBN code: 4562218724742. Product code: pd0003206.

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