Royer Labs SF-24V

SF-24V: The Pinnacle of the SF Series, Continuing the SF-12 Legacy

Designed as the flagship of the SF stereo microphone range, the SF-24V carries forward the spirit of the SF-12 (integrated stereo pair in Blumlein configuration) by adding a more sophisticated dimension: dedicated tube amplification engineered to deliver a more "full-bodied" and detailed sound, with a sense of ease on strong dynamics.

Building on the same tube circuits as the award-winning R-122V ribbon microphones (TEC Award), the SF-24V targets sound engineers seeking the ribbon signature (smoothness, naturalness, never harsh high frequencies) while gaining in output level and precision on micro-details.

For Which Recordings Does the SF-24V Make a Difference?

The SF-24V is aimed at studios and recordists who want to capture a credible stereo scene, without artifices, using a single microphone. Its figure-8 directivity on each of the two transducers makes it particularly effective when the room acoustics contribute to the aesthetic: it produces a wide and coherent image, with musically usable rear reflections.

It excels as a main stereo pair for acoustic ensembles, quartets, choirs, piano, harp, string instruments, "vintage hi-fi" drum overheads, drum room mics, or as an ambient mic for sections (brass, woodwinds). Thanks to its stable response according to the angle of incidence and negligible off-axis coloration, it remains clear even when sources move slightly or the room imposes placement compromises.

High-End Ribbon Design Powered by Tube Amplification

Blumlein Configuration: Instant Stereo, Natural Phase

The SF-24V integrates two matched ribbon microphones, positioned one above the other, angled at 45 degrees relative to center, in the Blumlein configuration. This setup delivers a stereo image that is both wide and precise, with excellent phase coherence: panoramas are stable, depth is evident, and natural reverberations effortlessly sit in the mix.

1.8-Micron Ribbons: Fast Transients, Smooth Texture

The 1.8-micron aluminum ribbons promote fast transient response and fine attack detail while maintaining the typical smoothness of a ribbon. The magnet and pole piece structure of each transducer is said to provide an extended, linear, and homogeneous frequency response without pronounced peaks or dips, resulting in natural timbres and often minimal equalization.

Two Independent Tube Circuits: More Level, More Detail

Each channel has its own tube circuit, contributing to a particularly comfortable output level for a ribbon microphone (sensitivity -38 dB) and a sense of definition "without harshness." In practice, this facilitates low-level recordings (delicate instruments, pianissimo passages) while maintaining clean headroom on crescendos, with an intrinsic noise level specified as below 18 dB.

Technical specifications

Frequency response - start	30 Hz	Capsule	ribbon dynamic
Frequency response - end	15 kHz	Connection	XLR
Category	studio microphone	Color	Grey
Directivity	bidirectional

Generating element	1.8-micron aluminum ribbon	Recommended load impedance	1,500 Ohms or higher
Frequency response	30-15,000 Hz +/- 3 dB	Microphone output connector	7-pin male XLR (stereo)
Sensitivity	-38 dB (re. 1 V/Pa +/-1 dB)	Power output connectors	Two 3-pin male XLRs
Self-noise	under 18 dB	Microphone dimensions	270 mm x 39 mm (base) x 25 mm (top)
Maximum sound pressure level	over 130 dB	Weight	583 g
Output impedance	450 Ohms to 1 kOhm