Royer Labs SF-24

From the SF-12 to the SF-24: Active Ribbon Stereo, Ready for Modern Studios

The SF-24 carries forward the DNA of the SF-12, a coincident stereo microphone known for its separation and phase coherence, and combines it with a ribbon microphone active circuit. The goal is clear: to preserve the ribbon signature (texture, density, smoothness of highs) while providing an output gain and level comfort comparable to a phantom-powered condenser microphone. The result: a high-end stereo ribbon microphone that easily integrates into current recording chains, from transparent preamps to consoles, without compromising the stereo image.

For Which Applications and Users is the SF-24 Intended?

The SF-24 is aimed at sound engineers, studios, and demanding recordists who want a realistic stereo and depth typical of ribbons, with smooth daily operation. The Blumlein configuration is ideal for capturing room acoustics and spatial placement: piano (grand or upright), string quartets and ensembles, drum overheads when seeking width without harshness, ambiences, percussions, as well as guitars and amps in stereo. Thanks to its crossed figure-8 directivity, it also allows "sculpting" the direct/room balance simply by adjusting orientation and distance, while maintaining exemplary phase coherence.

Features and Key Points: What Makes the Difference in Recording

An Active Circuit Designed for Ribbon (and Real Studio Life)

The major evolution compared to a passive version is the presence of an active circuit optimized for this type of transducer. The SF-24 offers a high output level (specified sensitivity -38 dBV) and a very low self-noise, which facilitates delicate recordings (more distant sources, ambiences, soft passages) and reduces dependence on very high-gain preamps. Power is supplied via 48 V phantom only, convenient for equipped studios and sessions where a quick and coherent solution is desired.

Two Matched Ribbons, Precise Stereo Image, and Controlled Off-Axis Response

The SF-24 incorporates two matched ribbon microphones, mounted one on top of the other in a coincident pair: each capsule is oriented at 45 degrees from center, for a classic Blumlein configuration. The aluminum ribbons of 1.8 microns and the magnet/pole piece structure aim for an extended and linear frequency response (without marked peaks or dips), with a remarkable transient response. Practically, this results in stereo that remains credible even if placement varies, and minimal off-axis coloration useful for capturing an ensemble without harshness, or for integrating the natural reverberation of a room musically.

Clean Stereo Connectivity and Simple Patch Integration

Output is via a 5-pin male XLR (stereo). This format allows carrying both channels in a single connector, with clear wiring to two preamp inputs. This is a real advantage for mobile setups or studios wanting to keep a clean stereo patch without multiplying mounting constraints.

Technical specifications