User's Manual
Table Of Contents
- Introduction
- SF-24V Vacuum Tube Stereo Ribbon Microphone
- Active & Vacuum Tube Ribbon Technology
- Description
- Applications
- Ribbons in the Digital World
- User Guide
- Using the SF-24V Vacuum Tube Stereo Ribbon Microphone
- Operation
- Power Supply Input Module
- Fuse Replacement
- Voltage Changeover
- Amplification Considerations
- Stereo Microphones and Ground Loops
- Equalization and Ribbon Microphones
- Hum, Noise and Mic Orientation
- Microphone Techniques
- General Tips for Using the Royer SF-24V
- Specialized Stereo Recording Techniques
- Classic Blumlein Technique
- Mid-Side (M-S) Technique
- Care and Maintenance
- Care for the Satin Nickel Finish
- Care for the Optional Optical Black Finish
- Care for the SF-24V’s African Padouk Presentation Case
- Features
- Specifications
- Polar Pattern
- Frequency Response
- Wiring Diagram
- Warranty
microphone is to be mounted upside down, make the
proper adjustments in your wiring orientation.
If the outputs of the mid and side elements are made
equal using gain controls, the stereo pickup will be
similar to that of two microphones placed as a
Blumlein X-Y pair, delivering a wide stereo image.
As you reduce the level of the “side” element, the
width of the stereo image will narrow until, with the
side element turned all the way down, you have just
the “mid” element panned center and giving a mono
pickup. If the outputs of the “mid” and “side”
elements are recorded on separate tracks, the
electrical connections shown in Figure 3 can be
made at the mixer outputs and the adjustment of the
stereo separation can be done during mixdown,
rather than during the actual recording.
Space does not permit a fuller discussion of the M-S intensity stereo format, first described by
Alan D. Blumlein over 50 years ago. We suggest the following reading on the subject:
W. Dooley & R. Streicher
“M-S Stereo: A Powerful Technique for Working in Stereo”
J. Audio Eng. Soc., Vol. 30 pp.707 (1982 Oct.)
15
Figure 2
Figure 3