Royer Labs SF-24V - Manual (Page 10)

thumb and forefinger (Image 5). Rotate the drum so that the
desired voltage appears in the window of the module
(Image 6). Gently push the drum back into position and
close the door. The door will snap shut when fully closed. It
is important to note that changing voltage settings also
requires changing the fuses to different values. The correct
values can be found in the specifications section of this
manual. There is more information on this subject in the
"Power Input Module" section of this manual.
Always connect the microphone to the power supply using
the seven-pin cable before applying AC voltage to the
power supply. Connect the two XLR audio outputs of the
power supply unit to a stereo or two-channel preamplifier.
The outputs are identified as OUTPUT 1 and OUTPUT 2.
The upper transducer is OUTPUT 1 and the lower
transducer is OUTPUT 2. With the microphone positioned
upright (logo facing sound source), the UPPER element is
RIGHT and the LOWER element is LEFT, as viewed from
the observer's perspective.
Since the SF-24 is active, its low impedance output allows
for long cable runs with minimal affect on the microphone’s
performance. High-frequency response losses and noise
pickup will be minimal even with cable runs up to several-
hundred feet in length.
NOTE:
There are no user serviceable parts in the power supply or
microphone. Leave all servicing of your SF-24V to a
qualified technician authorized to service this product.
Amplification Considerations
Almost any stereo microphone preamplifier (or pair of mono preamplifiers) with nominal gain
characteristics will give excellent results with your SF-24V vacuum tube ribbon microphone.
Unlike standard ribbon microphones, which depend on a proper impedance match to deliver
optimal performance, the input impedance of your preamplifiers will have minimal affect on the
SF-24V’s performance because the ribbon elements are loaded perfectly via the microphones’
internal electronics. Careful consideration should be given to the quality of the microphone
preamplifier. Studio grade preamplifiers usually sound much better than cheaper ones.
Headroom, noise floor, transparency and coloration are all factors to consider in determining
which preamplifier is suitable for your studio or live applications. Other features are usually
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