SR 14

Stereo Ribbon Microphone

When designing the R 14, TR 14 and SR 14 microphones we wanted to create a classic vintage-style ribbon microphone in the vein of the early RCA microphones.
We used classic long ribbon geometry. Thin corrugated aluminum ribbon is tensioned between two rare earth neodymium magnets. As the ribbon moves with the ambient acoustic air pressure variation a current is induced in the ribbon itself. This current is the microphone's output signal. The ribbon is placed just forward of the magnet center. This provides a very slight low-end roll-off on the backside of the microphone, which can be very useful if proximity effect needs to be countered. We build our SR 14 with two complete R 14 microphones in one body with the upper ribbon element capable of up to a 90-degree rotation. This allows for the popular 'Blumlein technique', a mid-side set up, and other stereo recording techniques. The SR 14 delivers clean balanced output through the use of a custom output transformer. Sonically the SR 14 delivers the rich, warm, and silky smooth sound of a ribbon microphone with generous low end in a two channel stereo image. It is un-hyped, natural and takes EQ very nicely. The SR 14 ribbon microphone is the perfect stereo complement to the condensers in your microphone collection.
  • Long Geometry Ribbon
  • Classic Ribbon Sound
  • Very Low Self Noise
  • Handle Very High SPL
  • Custom Wound Output Transformer

MSRP $ 1,587 USD

Microphone kit comes as a complete system including:

  • SR 14 Microphone
  • Wood Microphone Box
  • Shock Mount
  • Stereo Matrix
  • 7-Pin Cable
  • Locking Flight Case
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SR 14 Gallery

A closer look

SR 14 Front
SR 14 Side
SR 14 Back
SR 14 Front 90
SR 14 Inside Split
SR 14 Full Kit
SR 14 Front
SR 14 Side
SR 14 Back
SR 14 Front 90
SR 14 Inside Split
SR 14  Inside Top
SR 14 Full Kit


    A few details that make the SR 14 so special

    SR 14 Conector
    Standard 7-Pin XLR connector and cable system
    SR 14 Element
    Our classes long ribbon geometry element with protective fabric.
    SR 14 Ribbon
    Thin corrugated aluminum ribbon tensioned between two rare earth neodymium magnets.
    SR 14 Transformer
    Custom wound output transformer
    SR 14 Inside
    Inside the microphone body are two output transformers isolated in steel compartments.
    SR 14 Matrix Input
    Source from the microphone into the 7-pin XLR connection.
    SR 14 Output
    Signal output through three standard 3-pin XLR connections. Upper, (Side) element in negative phase (S1); Upper, (Side) native phase (S2); Lower (Mid) element in native phase (M).
    SR 14 7-Pin Cable
    7-pin XLR Connector Cable comes with microphone purchase. Replacement cable can be ordered here: SR 14 7-Pin Cable

      SR 14 Technical Info

      Detailed specifications

      SR 14 Frequency Response

      SR 14 Frequency Response Graph

      SR 14 Technical Data

      • Type: Ribbon-Velocity Studio Microphone with Stereo Matrix
      • Operating Principal: Electrodynamic Pressure Gradient
      • Magnets: Rare Earth Neodymium
      • Frequency Range: 30Hz/16Khz
      • Polar Pattern: Figure of 8 (Bi-Directional) x2
      • Sensitivity: -52 dBV (re 1v/pa)
      • Impedance: 200 ohms
      • SPL: 149 dB
      • Equivalent Noise: 0 dB(A)
      • Power Requirements: none required or recommended
      • Size: 36mm x 281mm
      • Weight: 750g


      Our community of artists, engineers, and reviewers have been busy putting the SR 14 through its paces. We present the following content to help you better understand the unique nature of this microphone.

      SR 14 YouTube Playlist

      The R 14 and SR 14 microphones employ the same element and circuit design.  Out YouTube playlist for these two microphones is combined. The R/SR 14 was used on the following sources in this playlist: In Studio - guitar amp; Clay Hess & Kyle Estep - acoustic guitars; Sierra Hull & Justin Moses - mandolin, guitar & Sierra's vocal; Taylor Ashton - drum kit; Ana Egge - drum kit; Mike Wheeler - guitar & male vocal; George Jackson with Joe Overton - fiddle & banjo; Big Daddy Love - drum kit; GOTE - drum kit; Isaac Hadden Project - drum kit; The Kody Norris Show - bluegrass ensemble single mic; Bill & The Belles - string band single mic with vocal & harmonies... and many many more!  
      Click the YouTube Playlist Icon in the frame to expand to see all the videos of the playlist.

      YouTube Playlist Icon Small
      Playlist: Peluso SR-14

      SoundCloud Content Samples

      SoundCloud Icon

      These SoundCloud samples provided here are intended to provide examples of the selected microphone in use on specific sources and vocals. Some samples are provided both inside a mix and as isolated raw tracks. These samples are available for high resolution download to be experienced within your own listening environment and signal chain. We give credit and thanks to the artists who have provided these! If you find this helpful and have a sample you'd like to include please contact us!


      RECording Magazine Logo

      "Now I'm really an electric guitarist, and I tested this last... I used the same three mics. I'm very familiar with what the R84 and the R-121 do in this situation. I'm a fan of both... I like to put the ribbon right up to the grill... Once again, the Peluso proved to be smoother. Not quite as bright, but that's not an issue for me, EQ being what it is. As a matter of fact, both the R-121 and R84 sounded a tad harsh in the upper frequencies in comparison; hyped, and actually lacking in the low end as if it was sacrificed. Not like the old vintage RCAs. The Peluso sounds like a real ribbon; more like the old ribbons. I'm really, really excited about this mic. I think this will now be my go-to electric guitar mic. I preferred it over my other ribbons-and I love all of them. "
      -Henry Robinett, TapeOp Issue 56, 12-2006



      "Starting with the front side, a fat midrange combines with solid lows to produce smooth and big sounds. I you need to get the R 14 up-close but you need to control your boom or you want to emphasize high frequencies, then turn it around and play into the rear. The sound isn't necessarily brighter, but it might seem that way because there's a slight roll-off in the low end.
      For vocals the rear side helped to tame the proximity effect and accentuate the consonants for enhanced intelligibility. One electric guitar, the bright side was superb for clean sounds, while the front sounds smoother and more powerful if you want rockier tones."
      Huw Price, Music Tech, 1-2010

      Cut Sheet

      P-280 Cut Sheet

      A one sheet .pdf you can save and share with the full description, features, and specification of this microphone.


      Peluso Brochure

      A .pdf brochure you can save and share containing cut sheets for all of the microphones we produce.