Royer Labs SF-1

Jun 1, 2001 12:00 PM, By Myles Boisen

Royer Labs is a small company dedicated to reviving ribbon microphones for the digital-recording era. I reviewed the company's flagship mic, the R-121, for the May 1999 issue of EM, and I was so impressed that I purchased one for my studio. Since then, that mic has acquired most-favored status at the studio for a number of applications, especially miking guitar amps and brass instruments. My colleagues were impressed, too, and honored the R-121 with an Editors' Choice award in 2000.

The inspiration for the SF-1 came from the Speiden SF-12, a stereo coincident ribbon microphone originally hand built by Bob Speiden but now manufactured by Royer (see Fig. 1). The SF-1 is the mono version of the SF-12 — if you sawed an SF-12 in half and doubled the electronics, you would essentially have two SF-1s.

The SF-12 and SF-1 have thinner ribbons than the R-121 (1.8 µm compared with the 121's 2.5 µm) and different magnet structures. According to the manufacturer, those design aspects contribute to superior transient response (for which ribbon mics are already prized) and improved high-frequency response, albeit with increased fragility of the ribbon element itself. Of course, all ribbon microphones need to be shielded from powerful blasts of air and handled with care. The SF-1's output level is comparable to that of other ribbon mics, requiring 15 to 20 dB more gain than an average condenser mic.

Like its predecessors, the SF-1 comes in a beautifully crafted wood box with a nylon mic clip and a lifetime warranty to the original owner (for repair or replacement at Royer's option). The mic body is fashioned from ingot iron and has a matte black finish. Optional accessories include the Audio-Technica AT-84 shock-mount ($72), which Royer supplied for this review; a PS-100 metal-mesh pop filter ($47.50); and a Sonosax SX-M2 stereo mic preamp ($1,250), which Royer also supplied. Royer sells the preamp as an accessory because of its high-gain and low-noise characteristics, which are desirable for ribbon-mic use. The SX-M2 is a well-built, portable, and compact unit not much larger than a Sony Walkman. It provides 76 dB of gain and can be powered by battery or DC current. The SX-M2's performance lived up to its impressive specs, exhibiting very low noise and a somewhat smoother sound than my main test preamps.

LINEUP

To get a sense of the SF-1's sonic character, I did some comparison testing. I set up a three-mic cluster: the SF-1, a Royer R-121, and alternately a Coles 4038 ribbon mic and an Oktava MC 012 small-diaphragm cardioid condenser mic. I used BLUE Kiwi microphone cables and Focusrite Green preamps and recorded to a Sony PCM-800 8-track digital recorder.

First, I performed a standard loudspeaker test. Although the R-121 did work some magic on the bass end of my boom box source, the SF-1 was more faithful to the source on a selection of mixes. The SF-1 highlighted ambience and percussive details pleasantly; after a number of listening passes, I rated the SF-1 tracks as the best of the group.

Frequency charts posted by the manufacturer show the SF-1's response deviating less than 3 dB from 40 Hz to 15 kHz; the response is flatter than the R-121's, which a comparison of the two charts makes clear (see Fig. 2). Some EQ sweeps confirmed the flatness of the SF-1's frequency response — it was easy to hear the effects of boosting in sweeps throughout the bass and treble ranges, and there were no evident weak or dead spots. However, in this test and on instrument tracks, I noticed a bump in the SF-1's response around 200 Hz.

Next, I compared the SF-1's off-axis response to that of the other mics by positioning the boom box several feet away at about a 90-degree angle to the mic cluster's side. Impressively, the SF-1 retained solid low-end characteristics that were lost on the R-121 and the small condenser. Both mics also emphasized unusual timbres in the source, indicating a less-than-flat response, and sounded thin or diffuse.

Last, I compared the two SF-1s to hear how similar they sounded. For the sake of thoroughness, I used three solid-state preamps: the Sonosax SX-M2, a Focusrite Green, and a Sytek MPX-4. I perceived only a minor difference in the high-end “air” between the pair of SF-1s. Other than that, the microphones sounded identical and perfectly matched.

STRINGS ATTACHED

For perspective, I left the mic cluster intact for the instrument tests. First up was an acoustic guitar strummed and fingerpicked at close range. The SF-1 sounded flatter than the R-121 but overall was less flattering to the instrument: although the high end was slightly clearer, the bass notes sounded indistinct. The Royer mics were comparable in terms of self-noise (very low) and preamp gain required (about +55 dB). If I had to choose between the two on acoustic guitar, I would opt for the R-121's tangy flavor over the SF-1's relative neutrality. However, of the three microphones in the cluster, the Oktava MC 012 condenser mic was my favorite in this application.

On a bright, close-miked acoustic slide-guitar part, the SF-1's high end was closer in character to the Oktava 012's. But there the ribbon mic's softer sound was an advantage, despite the duller-sounding upper range and the somewhat boomy and unfocused lows. With both mics strapped in the AT-84 suspension shock-mounts, the SF-1 proved to be more immune to foot stomping and stand-borne vibration than the R-121.

At a distance of two feet, the SF-1 provided a full low end and realistic highs for an assortment of guitar styles. A cut at 220 Hz took out a slight boominess in the sound and let my inexpensive Hyundai guitar sound much richer than it did through the other microphones. Not surprisingly, in the high end above 8 kHz, there was still no comparison with the crisp timbre of the Oktava condenser.

SE-1 Specifications

Acoustic Operating Principle	electrodynamic pressure gradient
Generating Element	1.8 µm aluminum ribbon
Polar Pattern	bidirectional (figure-8)
Frequency Response	30 Hz-15 kHz (± 3 dB)
Sensitivity	-52 dBV (1v/Pa ±1 dB)
Output Impedance	300• @ 1 kHz (nominal)
Maximum SPL	>130 dB
Dimensions	5.6" (L) × 1" (W)
Weight	9.3 oz.

During a session with a Martin Backpacker mandolin, the SF-1 added a warm, supportive character. The performer, guitarist Michael Bizar, praised the microphone's qualities, and I agreed that the SF-1 warmed up this instrument very nicely.

ELECTRIFYING

Because the R-121 has become a first-pick microphone for recording electric guitar at my studio, I was eager to see if the SF-1 could match or perhaps even beat it. It didn't. Positioned about two feet from a cranked Fender tube amp with two 12-inch speakers, the SF-1 conveyed a hollow midrange and too much low-end mud. A 4 dB boost at 2.5 kHz brought the SF-1 closer to the R-121's character, but the SF-1 still didn't have the presence and ready-to-rock tone that have made the R-121 so popular among guitarists and engineers.

Likewise, on a mellow, amplified jazz guitar, the SF-1 was murky sounding compared to the other ribbons. In this application, its extended high end brought out some amp noise but no special qualities. As much as I appreciate the SF-1's virtues as a flat and extremely warm mic, for electric guitar I usually want a mic with some attitude. The SF-1 has a neutral quality that makes the R-121 and Coles 4038 seem aggressive in comparison.

On the other hand, during a session with guitarist John Shiurba, the SF-1 worked wonders on a small, solid-state Vox guitar amp. It managed to add punch and authority yet smooth out rough edges on the challenging array of textures Shiurba created. I also tried the SF-1 directly on another of Shiurba's guitars, an unamplified hollow body, as he played in the same room with other musicians. This time the mic provided incisive high-end detail. Also, the mic's off-axis pickup, which was readily apparent when I brought up the acoustic instrument track in the ensemble setting, was remarkably uncolored. Often during multiple-mic sessions, bleed from condenser mics creates muddiness, unwanted room sound, and narrow-band coloration throughout the frequency range. But in this case, the leakage was not a problem, especially after I equalized some “thump” out of the guitar with a 4 dB cut at 200 Hz.

I experimented with the SF-1 on two keyboard-and-amp rigs (solid state) as the players ran the gamut of samples, synth patches, and industrial noise. During tracking and mixing, I was impressed by the SF-1's immediacy and its sympathetic treatment of pure synth tones, high-resonance peaks, and low-end material in the 40 to 80 Hz range. I didn't compare any other mics during this session, and I didn't feel compelled to, either. Under demanding conditions the SF-1 reproduced diverse, full-frequency sources perfectly, with no harshness or dulling. In the mix, the tracks needed minimal EQ — just a small amount of 4 to 8 kHz sweetening or the occasional low- or upper-midrange cut around 1 kHz.

Brass instruments are a traditional favorite for ribbon miking. I tried the SF-1 on trumpet and received great results. Despite some raspiness in the high end, the SF-1 gave the trumpet a bigger sound and an enhanced sense of low-end air movement compared with the R-121 and Coles 4038 ribbon mics. On open horn, the Coles 4038 had less fizzle, but the SF-1 displayed a touch more warmth. On Harmon-muted trumpet, the SF-1's overall response was a real boon, supplying clear, high-harmonic richness and an authoritative low end.

SHAKE, RATTLE, AND ROLL

The SF-1 improves markedly on the R-121's already formidable capabilities as a percussion mic. On tambourine, the R-121 sounded dull and crunchy in comparison, and the small-diaphragm condenser sounded a bit too bright and piercing. The SF-1 rendered the tambourine in a detailed and surprisingly listenable way; indeed, it sounded superior to any ribbon mic I've tried in that application.

On shaker, though, the Oktava MC 012 was my favorite, and the SF-1 offered obvious improvements on the R-121 in terms of high-end pickup and transparency. Yet on jingling keys, miked from two feet away, the SF-1 proved much more accurate than the condenser microphone. Interestingly, when I moved the keys to about one foot from the mic cluster, the SF-1 sounded almost identical to the Oktava 012. For that source sound, I found the condenser's slight high-end advantage to be a sonic disadvantage, because it provided too much stimulation to my middle-aged cilia. The SF-1 is truly the first ribbon microphone I have ever considered for delicate high-end percussion duties, and I looked forward to trying it on drums.

Fortunately, fellow engineer Karen Stackpole was reviewing an Ayotte drum set for Onstage (EM's sister publication), so I was able to evaluate the SF-1 pair in XY coincident and split-overhead configurations. At approximately seven feet above the floor, the XY and spaced arrangements of the SF-1 pair underrepresented the cymbals and sounded too tubby. Compared with the Oktava 012 XY pair, the SF-1 grabbed a great snare sound and painted a much more robust and immediate picture of the kit's drum portion. But even with EQ, the cymbal sound was just too dull.

Remembering my experience with the key test, I moved the split-overhead SF-1s closer — nearly on top of the left and right cymbal clusters — so that no cymbal was more than three feet from the mics. Suddenly, the sound of the drums snapped into focus: not only was there much more detail from the cymbals but also a remarkable combination of punch and clarity also emerged from the floor tom and snare. With a little high-end boost, that setup could provide a big and distinctive sound for jazz or funk recording.

I also experimented with the SF-1 as a mono drum overhead, comparing it with a single Oktava 012. Placed above the center of the kit and about five feet from the floor, the SF-1 picked up viable cymbal sounds and captured a huge snare tone that sounded much truer than what the condenser mic captured.

When raised two feet higher, the single SF-1 produced a sound surprisingly comparable to the Oktava 012. With a high-frequency shelving boost of +3 dB and a broad low-end cut of 3 dB at 200 Hz, the SF-1 nearly matched the small-diaphragm mic's crispness and provided a butt-kicking low end to boot. It took a little getting used to, but toward the end of the listening session, I really began to like the full sound emerging from the SF-1, and I decided to experiment with it further in upcoming sessions.

During the listening evaluation, Stackpole noted that the SF-1 sounded “better and brighter when the mics got closer, and they did seem to give the drums some beef.” Although in the end Stackpole preferred the drum sound captured by the small-diaphragm condenser pair, she remarked that “the Royers are definitely usable — not a bad sound, just darker.”

NEW VOICE

As a frequent and enthusiastic user of the Royer R-121, I approached this review with great curiosity. Could the SF-1 actually improve upon the R-121's upper high-end response? The answer is an unequivocal and resounding yes. Is the SF-1 a great ribbon mic? Once again, the answer is yes. As I learned from my tests, the SF-1 does some things better than other ribbon mics (including the R-121). But not surprisingly, there are also things it doesn't do as well.

I was impressed by the SF-1's potential as a percussion and drum mic. With proper placement and a few EQ nudges, its clarity rivaled a small-diaphragm condenser mic that I regularly employ. The SF-1 also sounded wonderful on trumpet, and I would expect it to perform as well or better on other members of the brass family. In addition, I was literally moved by the superb bass response and punch of the SF-1 — it reproduced powerful low-end air movement in a way that only a few high-end condensers can.

With this new entry into the underpopulated world of studio-grade ribbon mics, Royer has created yet another distinctive, versatile, and great-sounding microphone. Not only is it an excellent complement to the R-121, but the Royer Labs' SF-1 also has a voice and capabilities all its own.

PRODUCT SUMMARY

Royer Labs
SF-1

ribbon microphone
$1,075

AUDIO QUALITY	4.5
VALUE	5.0
RATING PRODUCTS FROM 1 TO 5

PROS: Flat frequency response. Better upper high-end response than most ribbon mics. Superb bass response and punch. Great for some small percussion. Viable for drum set. Excellent on keyboard amps and brass instruments. Remarkably uncolored off-axis response. Low self-noise. Beautifully crafted wood case. Lifetime warranty to original owner.

CONS: As with most ribbon mics, attention to placement and EQ required for best results. Increased fragility due to thin ribbon. Prominent boost around 200 Hz noted on many sources. Low-end response can sound murky or unfocused on some acoustic and electric guitars.

Manufacturer
Royer Labs
tel. (818) 760-8472
e-mail sales@royerlabs.com
Web www.royerlabs.com