I gave the SF-1 a workout using a trick I heard from Mix contributor Barry Rudolph. For guitar overdubs, I placed two Marshall 4x12 cabinets facing each other with the SF-1 placed in between them. Because the back side of a figure-8 mic is out-of-phase with the front, I wired one of the Marshall bottoms out of phase, and—after a little experimentation with mic-to-cabinet distances—I wound up with a huge guitar sound; high SPLs were not a problem.

Although the SF-1’s flat, wide response, fast transient tracking and high-SPL handling would make it a good candidate for drums, the mic’s inherent figure-8 pattern limits its use to tracking drum overheads when no other instruments (loud guitars, etc.) are present. In such cases, the SF-1—as spaced or coincident overhead pairs—offered a nice balance of cymbals, toms and snare, requiring only a supplemental kick mic.

Due to multiple internal reflections within piano cases, the only way to avoid muddiness and cancellation with figure-8 mics on piano is to remove the lid. This precludes use of the SF-1 for most live or multi-instrument piano sessions, but for (lid-off!) overdubs or solo piano recordings, the SF-1 offered an unhyped, natural reproduction that matched what I heard in the room.

Overall, I loved the SF-1. Its low sensitivity does require a high-quality/high-gain preamp, and its wide, flat, uncolored response lacks the in-your-face presence boost common to most studio condensers and even found in Royer’s R-121 ribbon model. However, users seeking an accurate, transparent studio mic may want to add one (or more) SF-1 to their mic lockers.

Royer Labs, 821 North Ford Street, Burbank, CA 91505; 818/760-8472; fax 818/760-8864; www.royerlabs.com.

Reprinted with permission from Magazine, March, 2001
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