• Active stereo ribbon microphone with Blumlein and M/S configuration
• Two precisely tuned ribbon capsules for natural spatiality
• Active Ribbon technology for 14 dB higher sensitivity than passive models
• Sensitivity of -38 dB at the level of high-quality condenser microphones
• 1.8-micron ribbon for excellent transient response and precise sound reproduction
• Specially wound toroidal transformers for noise-free signal amplification
• ultra-low-noise FET circuits for maximum sound quality
• perfect impedance matching for consistent performance with any microphone preamplifier
• no interference from phantom power or electrical noise
• perfect phase fidelity for mono summing without artifacts
• ideal for orchestras, choirs, Drum overheads, acoustic instruments and room miking
• outstanding off-axis performance without tonal coloration
• long cable runs without signal loss thanks to optimized electronics
• supplied with Y-adapter for separate XLR-3 outputs of the upper and lower capsule
• robust design and durable construction for professional studio applications

First-class stereo reproduction with Blumlein arrangement

The SF-24 consists of two precisely tuned ribbon capsules arranged one above the other in a Blumlein configuration. This enables precise stereo imaging with natural spatiality and excellent depth. The 1.8-micron ribbon elements guarantee outstanding transient response, while the innovative magnet/pole-core design ensures a linear frequency response without annoying peaks or dips.

Active electronics for maximum sensitivity and low noise

Thanks to the patented Active Ribbon™ technology, the SF-24 has a sensitivity of -38 dB, making it easy to use with any microphone preamplifier. Unlike passive ribbon microphones, which require high preamplification, the SF-24 can also be used with preamplifiers with average gainperformance.

The active circuits are based on specially wound toroidal transformers and ultra-low noise FETs. This design not only ensures excellent signal quality, but also ensures that the microphone delivers sufficient output level even with quiet signal sources without generating additional self-noise.

Versatile applications for studio and orchestral recordings

Like the SF-12, the SF-24 delivers an exceptionally realistic stereo recording that not only captures the instrument but also- depending on the positioning - the room acoustics authentically.

The microphone is perfect for:

• Orchestral and ensemble recordings with natural spatiality
• Drum overheads for a wide and detailed representation of the kit
• Acoustic instruments such as guitar, piano and percussion
• Choirs and vocal ensembles with excellent vocal separation
• Room miking for capturing ambience and natural acoustics

Optimum mono compatibility without phase problems

The two channels of the SF-24 are perfectly matched to each other, ensuring excellent phase fidelity. This not only enables problem-free summing of the two channels for monorecordings, but also prevents unwanted phase artifacts.

Alternatively, a single capsule of the SF-24 can be used as a mono ribbon microphone - ideal for singers or instrumentalists who move around during recording.