Royer Labs SF-24V Vacuum Tube Stereo Ribbon Microphone (Satin Nickel)

Styled in a satin nickel finish, the Royer Labs SF-24V is a true stereo ribbon microphone drawing tonal characteristics from its vacuum tubes; indeed, the electronics of the tubes elicit a smooth midrange and clarion highs, providing you with an open-sounding sense of air not commonly achievable with ribbon microphones. The microphone is designed to pick up true stereo recordings, allowing for a detailed stereo image and precise transient response.  

With an output level of -38 dB, the SF-24V will work with any pro-audio preamplifier, giving you self-noise lower than 18 dB, which renders the microphone particularly suitable for classical, acoustic, and otherwise naturalistic recording scenarios. Technically the SF-24V is two microphones in one unit, one capsule placed above the other in a coincident pair, with each figure-8 element aimed 45° from center, thereby giving you a classic Blumlein recording field. Each ribbon transducer has been fashioned in such a way as to deliver a uniform and largely flat frequency response at various distances; you’ll find that the coloration usually imparted by capturing audio off-axis from a microphone’s position is largely absent in this microphone.

The microphone provides two amplifiers, each utilizing triode-connected, military-grade 5840 vacuum tubes. Furthermore, triode-configured cathode follower circuitry allows the microphone to operate across long cable runs without noticeable sonic degradation or loss of treble; long cable runs are further ensured by a dedicated power supply. The microphone’s outputs are fully balanced, electrically isolated utilizing Jensen output transformers.

All of this means the SF-24V boasts more output level than non-powered ribbon microphones, while impedance-matching electronics ensures that it’s easier to use this microphone in a safe, nondestructive manner—not necessarily a given with ribbon microphones. Thus, this stereo microphone is quite suitable for full orchestras, choirs, chamber groups, acoustic pianos, drum overheads, and more. Additionally, the phase compatibility between each of the SF-24V’s capsules is such that summing a stereo recording to mono will result in no phase artifacts. Each capsule can also be used in an independent, mono implementation.