Drums (Room) – 2 R-121’s
Electric Guitars – R-121
Engineer – Randy Staub. Producer – Matt Hyde
Recorded at Warehouse Studios – Vancouver, B.C.
R-121’s on electric guitars and two R-121’s as drum room mics.
Acoustic Guitar – SF-1
Violin – R-121
Banjo – SF-2
Standup Bass – R-122
Drum Overhead – SF-24
Drums, Tom-Toms – R-122
Drums, Kick – R-122V
Drums, Hi-Hat – R-121
Producer: Fab Dupont. Engineer: Meredith McCandless
When our friend Fab Dupont set out to record singer/songwriter Will Knox’s album “The Matador And The Acrobat” with engineer Meredith McCandless, they decided to track the album entirely with Royer ribbons (except for a condenser on Will’s vocal and a dynamic on the snare). Here is a behind-the-scenes look at the recording process that Fab and company so kindly put together for us.
Vocals & Guitar: Will Knox
Violin: Clayton Mathews
Banjo: Kyle James Houser
Standup Bass: Chris Anderson
Drums: Timur Yusef
Puremix.net is an educational website featuring a wide assortment of videos on recording, mixing, mastering and much more. Puremix.net was created by Fab Dupont; his partners in Puremix now include Ben Lindell and Ryan West.
Cello – R-122
Engineer/Producer; Ron Searles
In these two videos, Ron Searles uses ribbon microphones to record cellist Winona Zelenka playing an extraordinary 1707 Joseph Guarnerius cello.
Recording chain: R-122’s into True Systems Precision 8 mic pres. Recorded to ProTools in 24/96.
“Six Suites for Solo Cello” (J.S. Bach)
This educational video shows three R-122 active ribbon microphones place in a modified Decca Tree configuration. Engineer Ron Searles discusses the importance of ribbons on bowed instruments, the usefulness of the figure-8 pattern in controlling room reflections, achieving natural sounding recordings using ribbons, and more.
Pianos (dual) – R-122V, R-122
Woodwinds – SF-2
Strings – SF-2
Hall Ambience – SF-24
Recording Engineer: Robert Friedrich
Producer: Erica Brenner
In this video, Grammy-winning engineer Robert Friedrich talks about using ribbon microphones extensively while recording the San Diego Symphony playing “The Carnival Of The Animals.” Of particular interest is his microphone technique on the dual pianos, which were positioned side-by-side and recorded with a pair of R-122V’s and a pair of R-122’s.
Pianists: Jon Kimura Parker and Orli Shaham
Videographer and Photographer: R Chaney
“Carnival of the Animals” (Camille Saint-Saens)
Heavy Electric Guitar – R-122V
Producer/Engineer: Johathan Merkel
Guitarist/Producer/Engineer Jonathan Merkel shows how he records heavy electric guitar using an R-122V to capture his Mesa Boogie Uberschall amplifier. This song was recorded in Jonathan’s home studio, so the 1×12 Mesa cabinet was placed in a closet for isolation.
Jonathan shows complete signal paths for all phases of electric guitar recording and walks us through blending R-122V, SM-57 and DI tracks for his final guitar sound.
“Fuel the Fire” (Jonathan Merkel)
Johathan’s company Beat Chamber is a Contemporary Song Catalog and Production company which produces and licenses music for film, TV and multimedia projects. http://www.beatchamber.com
Drum Overhead – SF-24
Drum Rooms – SF-24, R-122V, R-122
Electric Guitar – R-121
Recorded by Ross Hogarth
Recorded at Sweetwater Studios, Ft. Wayne IN
Grammy winning Producer/Engineer Ross Hogarth gives a seminar on his techniques for recording drums and electric guitars with ribbon mics, showing mic placements and letting us hear mixed and isolated ribbon-recorded tracks.
Piano – SF-12, R-121
Engineer: Dusty Wakeman.
Recorded at Mad Dog Studios, Burbank, CA.
Grand piano in an iso room, lid fully lifted.
Recording chain: SF-12 and R-121’s to Neve 8088 console preamps. Recorded to 20-bit ADAT.
(The level of this track was raised 4 dB over the original source material level.)
One SF-12 and two R-121’s combined; all mics mixed at equal level. SF-12 panned hard left and right, R-121’s panned soft left and right. No EQ, compression or effects.