Vocals – R-121
Acoustic Guitar – R-121
Engineer: Richard Dobson
Recorded to DAT in Richard’s home studio.
One forward-facing R-121 on vocals.
One R-121 on acoustic guitar, with a condenser mic lightly blended in.
Vocals – R-121
Acoustic Guitar – R-121
Drum overheads – R-121
Producer: Shawn Sullivan. Engineer: Kyle Homme.
Recorded to Pro Tools at World Class Audio, Anaheim, CA.
One backward R-121 on vocals and acoustic guitars. Two R-121’s on drum overheads.
Sean Sullivan was the original discoverer of the backward R-121 recording technique. Due to our patented offset ribbon element, the back side of the microphone is slightly brighter than the front side when placed within 3 ft of any sound source.
“Again” (Dan Sistos & Jevon McGlory)
Percussion – R-121
Electric Guitar – R-121
Violin – R-121
Drum Overheads – SF-12
Recorded and mixed by Steve Kempster.
Song 1. R-121’s on all percussion instruments and brass. SF-12 stereo ribbon mic on drum overhead.
Recorded to Sony 4038 (16-bit) at Signet Sound, Hollywood, CA.
Song 2. R-121’s on all percussion instruments, guitars and violin. SF-12 stereo ribbon mic on drum overhead.
Recorded on a Sony 3348 (16-bit) at Village Recorders, Los Angeles, CA.
Percussion – R-121, SF-12
Congas – SF-12
Timbales – R-121
Engineered and mixed by Bruce Swedien. Produced by Bruce Swedien and Andres Levin.
Recorded at Studios EGREM – Havana, Cuba / Fun Machine Studios – New York, NY / Westviking Studios.
All percussion instruments recorded with R-121’s and an SF-12.
From the Sony Records France release “Le Sang Des Roses”.
Kick Drum – R-121
Drum Overhead – SF-12
Engineer: Roger Summers
Recorded at Royaltone Studios, Burbank, CA
Session drummer Kevin Shepard playing a Gretsch kit in a large iso booth.
Recording chain: all mics through Neve console preamps, recorded directly to DAT.
1. Kick Drum/Room – one R-121 three feet from the front head.
2. SF-12 overhead, lightly EQ’d to open up highs.
3. C-24 overhead (same position as the SF-12, for comparison)
4. SF-1’s overhead, lightly EQ’d.
(The SF-1 is discontinued, but the active SF-2 sounds identical and has higher output.)
5. SF-12 overhead (lightly EQ’d) and one R-121 three feet off the kick drum.
6. SF-12 overhead and one R-121 three feet off the kick drum. Same track as #5, but with no EQ.
Trumpet – R-122, SF-24V
Piano – SF-24V
Recorded at Sweetwater Studios, Ft. Wayne IN
Arturo Sandoval demonstrates his trumpet and piano recording techniques in the best way possible, laying it down in the studio. Each of these videos feature Arturo soloing on the trumpet and then doing some extraordinary piano playing. For the trumpet demonstrations, engineer Don Murray removed Arturo’s solo tracks from two recordings featured on Auturo’s record “Dear Diz (Every Day I Think of You)” and Arturo recorded new solos.
Recording chain Trumpet: Royer R-122 and SF-24V into Millennia HV-3D preamplifier. Bricasti reverb. Recorded to Pro Tools.
Recording chain Piano: Royer SF-24 and two Mojave Audio MA-300’s into Millennia HV-3D preamplifier. Recorded to Pro Tools.
The instruments are miked the way Arturo records in the studio:
Trumpet – one R-122 close mic, with an SF-24V at a distance and blended for added dimension.
Piano – One SF-24V at the knee of the piano, with two Mojave Audio MA-300’s set in Cardioid and spread out.
(Arturo normally uses SF-24’s in the distant trumpet position and on piano, but we had SF-24V’s on hand.)
Trumpet: “Things to Come” (Walter Gilbert Fuller, Dizzy Gillespie)
Piano: “Surena” (Arturo Sandoval)
Trumpet: “And Then She Stopped” (Dizzy Gillespie)
Piano: “Smoke Gets In Your Eyes” (Jerome Kern, Otto Harbach)
Full Orchestra – SF-12 Stereo Ribbon
Engineer/Producer: Russell Dawkins
Recorded at the studios of the Ukrainian Radio/Television Orchestra, Kiev.
Recording chain: One SF-12 stereo ribbon microphone with 35-feet of Monster cable connected to a Studio Technologies mic pre, then 6-feet of Monster cable to an Apogee A/D converter, to coaxial cable to the digital ‘in’ on a portable DAT machine. No compression or reverb used.
This exceptional recording of a full orchestra was made on one SF-12 stereo ribbon microphone, positioned over the conductor’s head, at a distance that achieved a nice balance of the orchestra and hall ambience. We use this recording regularly in seminars, as it’s a wonderful example of the amazingly natural reproduction a high-quality ribbon microphone is capable of delivering. The off-axis response is perfect, transients are natural with no overshoot or ringing, and the flat frequency response captures the full range of the orchestra with no peaks or dips anywhere throughout the frequency range.
Pipe Organ – SF-12
Recorded by Dr. Fred Bashour
Recorded at The Cathedral of the Immaculate Conception, Denver, CO
Recording chain: One SF-12, 35 feet high, 30 feet back from the pipes, to a Millennia Media HV-3C preamp/ADC, and recorded directly to a Sony TCD-D10 PRO DAT machine.
This track was Dr. Fred’s first use of an SF-12 and was made while he was reviewing the microphone for Pro Audio Review. The final take utilized over 12 mics, but Dr. Fred provided this isolated SF-12 track to Royer Labs for demonstration purposes.
Performed by Ann Labounsky & David Craighead.