Recording Electric Guitar Video Series with Ross Hogarth and Tim Pierce

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Grammy winning Engineer/Producer Ross Hogarth and session guitarist extraordinare Tim Pierce joined us to create an 8-part video series featuring an in-depth look at Hogarth’s electric guitar miking techniques. These videos are an excellent opportunity for recording engineers at all levels to learn new methods or brush up on some great guitar miking techniques.

 

Recording Electric Guitar, with Ross Hogarth and Tim Pierce. Session 1 of 8.
Divided by 13 amplifier into a Marshall 4-12 cabinet.

Introduction to blending a Royer Labs R-121 ribbon microphone with a Shure SM57 dynamic mic on electric guitar.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 2.
Marshall JCM 800 amplifier into a Marshall 4-12 cabinet.

R-121 and SM57 blend vs R-101 & SM57 blend

Two microphone blends are compared; a Royer Labs R-101 ribbon microphone and Shure SM57 dynamic mic, and a Royer R-121 ribbon microphone and Shure SM57 dynamic mic.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 3.
65 Blackface Fender Deluxe

session 3

Blending a Royer Labs R-121 ribbon microphone with a Shure SM57 dynamic mic on a combo amp.

 

Recording Electric Guitar with Ross Hogarth. Session 4.

session 4

Microphone Placement Techniques

In this video, Ross demonstrates his dual microphone positioning techniques on a guitar cabinet, then uses an open speaker to clearly show where to put mics and why he likes these positions.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 5.
Supro combo with 15-inch speaker.

Session 5

Another example of blending a Royer Labs R-121 ribbon microphone and a Shure SM57 dynamic mic, this time on a beautiful Supro combo amp with a 15-inch speaker. Very nice, warm vibrato on this amp.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 6.
Diezel head into a Marshall 4-12 cabinet.

In this video with Tim playing drop-tuned guitar, we compare an R-121 & 57 blend and an R-101 & 57 blend on a cranked up Diezel head through a 4-12 Marshall cabinet.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 7.
Magnatone Stereo Combo Amp

Session 7

Ross uses the R-121 & 57 blend on a great old Magnatone stereo combo amp, with an SF-24 stereo ribbon microphone centered 1-ft back from the amp to capture excellent stereo guitar tones.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 8.
Supro combo with 6-inch speaker.

Session 8

This video of an R-121 ribbon microphone on a Supro combo amp shows the amazing tone and size you can get from properly miking a small amplifier.

 

Fiach and Tradalsa

Acoustic Guitar – R-121
Accordion – R-121
Electric Bass – R-121

Recording Engineer: Christy.
Recorded at Park Studios, Stockholm, Sweden.

Spaced R-121’s on an acoustic band.

Two R-121’s placed 5 feet apart on an acoustic band (guitar, accordion and electric bass) playing live in the studio. Acoustic guitar has slight amount of condenser mic blended in. No EQ or effects. Slight compression on final mix.

“Hornpipe” (Traditional)


John Thomas

Acoustic Guitar – SF-12, R-121

Recorded by Dusty Wakeman
Recorded at Mad Dog Studios – Burbank, CA.

First rhythm track recorded on an SF-12 stereo ribbon mic (in mixing, one side was centered and the other was panned to left). Harmony/solo track was recorded on a backward R-121, panned toward the right.
The guitar is a Taylor 512 cutaway.

Recorded to 20-bit ADAT. No EQ, compression or effects.

John Thomas

Rick Trevino

Classical Guitar – SF-12

Producer, Steve Berlin. Engineer, Dave McNair.
Recorded at Sonora Studios, Glendale, CA.

SF-12 on a classical guitar in a large room.

“Vanidad”

Canaan

Acoustic Guitar (nylon and steel string) – R-121
Drum Overhead – SF-12
Vocals – R-121

Engineer – Kyle Homme. Producer – Shawn Sullivan.
Recorded in Pro Tools at World Class Audio, Anaheim, CA.

Backward R-121 on steel and nylon string acoustic guitars.
SF-12 on drum overheads.
Backward R-121 on vocals.

“Again” (©2000 Dan Sistos & Jevon McGlory)
a) Full Mix part 1 – emphasis on vocals and acoustic guitar


 

 

b) Full Mix part 2 – emphasis on nylon string guitar and drums


John Jennings

Comparison tracks
Acoustic Guitar – R-121, Backward R-121

Recorded by Jeff Gross
Recorded in Cubase at Studio 144, Tarzana, CA.

“Give Me A Reason” (John Jennings)
R-121 front side on Taylor 512, 8-inches off the 12th fret


 

“Give Me A Reason” (John Jennings)
Backward R-121 on Taylor 512, 8-inches off the 12th fret

Slash

Electric Guitar – R-121 & SM57

Recorded by Jim Mitchell
Recorded at Slashes home studio, Snakepit Studios.

R-121 & SM57 combined on a Marshall 4-12 cabinet with no EQ, effects, or compression.

A few years after Royer opened we visited Slash and recording engineer Jim Mitchell during a session. Slash’s Marshall was miked with an R-121 & SM57 and Slash was tearing it up – it sounded fantastic. I asked if they would give us a solo guitar recording of Slash for our first demo CD and Slash very kindly laid this one down for us.

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Slash Soloed


Ross Hogarth – Various Isolated Tracks

B-3 – SF-24
Drums – R-121, SF-12
Drum Room – SF-12, R-121
Bongos – SF-24
Shakers – SF-24
Electric Guitar, Heavy Rock – R-121

Engineer/Producer Ross Hogarth was one of the first engineers to ever use a Royer ribbon microphone. He has a large collection of Royers, including early serial numbers of all of our models due to his beta testing everything we’ve ever made. Over the years his contributions have been numerous and invaluable and we count him among our closest of friends.

Ross gave us the following isolated tracks to help teach engineers what Royer ribbons are capable of doing in the studio.
1) Isolated B-3 from the Damon Castillo Band, recorded on an SF-24 stereo ribbon microphone.
B-3: SF-24 on top of the Leslie with a Heil PR-30 on the bottom.
Recording chain: SF-24 into a Great River MP-2NV preamp, PR-30 into a Chandler preamp.
Recorded by Ross Hogarth at Sunset Sound Factory, Hollywood, CA in 2007.



 

2) Kenny Aronoff playing drums. One compressed R-121, 3 feet high and 6 feet back from kit.
Recorded by Ross Hogarth at Rumbo Recorders – Canoga Park, CA, B-room.



 

3) John Molo – Various Drum Tracks
This is a drum session broken down into isolated tracks cut on various Royers, with a final mix of all the Royer mics that were used on the session. This mix does not include the other mics that were used on the kit for the final drum mix.
Recorded by Ross Hogarth

3 a) SF-12 in front of the kit



 

3 b) R-121 left and right, front of the kit



 

3 c) One R-121 in front of the kit



 

3 d) All Royer mics from 3a, 3b & 3c blended



 

4) Bongos and Shakers from the Ryanhood song “All Right” recorded on an SF-24 stereo ribbon microphone. SF-24 12-inches above bongos and 8 inches from shakers.
Recording chain: SF-24 thru Great River MP-2NV pre, to Crane Song HEDD converter.
Recorded by Ross Hogarth at Track Records, North Hollywood, CA in 2008.
Play Audio



 

5) Stereo rhythm distortion guitar bed. R-121’s on two Marshall 4-12 cabinets.
Recorded by Ross Hogarth in Pro Tools at Rumbo Recorders – Canoga Park, CA.


Andy Georges – Comparison Tracks

Electric Guitar – R-121
Comparison Tracks

Engineer: Dusty Wakeman
Recorded directly to 20-bit ADAT at Mad Dog Studios, Burbank, CA

a) One R-121 six inches from a guitar cabinet. Fender Stratocaster with single-coil pickups, into a Matchless amplifier with a Marshall 4-12 cabinet. At this distance you hear little or no room ambience.

 

b) Same Stratocaster/Matchless combination, with the R-121 three feet from the cabinet. The mic is three feet high and pointed directly at the cabinet. At this distance, the cabinet’s tone becomes more apparent and room ambience plays a more important role in the overall sound.