Electric Guitar – R-121
Recorded & mixed by Chuck Ainlay
Recorded at The Tracking Room, Nashville, TN. Guitar overdubs recorded at AIR Studios, Lindhust Hall.
Electric Guitar: Guitars recorded with an R-121 & SM57 on two separate speakers of a Marshall cabinet, close miked.
Recording chain: R-121 & SM57 mics through Neve 1073 preamps. Recorded to Nuendo through Mytek converters.
“Why Aye Man” (Mark Knopfler)
Electric Guitar – R-121
Recorded and mixed by Justin Niebank. Produced by Dan Huff.
Recorded at Blackbird Studios, Studio A.
Recording chain: Mics into Neve 8078 console preamps (31105). Recorded to Pro Tools HD at 24/48.
Electric Guitar: R-121 & SM57 on electric guitars, close miked.
“Life is a Highway” (Tom Cochrane)
Banjo – R-122
Engineers: Jeff Rodenkirch, Phil Lipman
Two R-122’s on banjo, with one U87 5 feet away and pointed into the corner baffles.
Recording chain: R-122’s into Great River MP-2NV mic preamps. U87 into a Buzz Audio MA-2.2 preamp. Recorded to 2-inch tape at 30 ips.
“Granada Vox” (Tim Weed)
Acoustic Guitar – R-121
Baritone Acoustic Guitar – SF-24
Vocals – R-121
Electric Guitar – R-121
Percussion – R-121
Multi-Instrumental Musician/Engineer/Producer Andy Georges worked at Royer Labs for years and remains a good friend of the company. He created many recordings at home and in Los Angeles studios and you’ll find much of his work in this Library.
1) “My Guitar is on Fire” (Andy Georges)
Recorded and mixed by Andy Georges
Recorded at Andy’s home studio.
SF-24 on an acoustic baritone guitar, ten inches from the 12th fret, blended with a piezo pickup. SF-24 80%, piezo 20% in the mix.
Recording chain: SF-24 into a Royer custom built class A tube preamp. Piezo into a Motu 828 preamp. Compression on both mic and piezo. High shelving roll-off on piezo starting at 4K. Recorded into Digital Performer.
2) “Sleep Easy Hutch R” (Alex Wurman)
Recorded and mixed by Alex Wurman
R-121 turned backwards on an acoustic guitar.
3) “Music Of The Speres” (Andy Georges)
Recorded to Digital Performer and mixed by Andy Georges in his home studio. Vocals and all instruments tracked on a backward R-121.
Acoustic Guitar, Classical – R-122V
Flute – R-121
Recorded and mixed by Robert Friedrich
Recorded at Skywalker Sound Studios, San Rafael, CA.
Acoustic Guitar: Four guitars recorded with four R-122V’s. Mics 1 to 2 ft from guitars.
Flute: One R-121 on flute, at 1 ft distance.
Recording chain: All mics fed to AEA TRP mic preamps, then directly to Sonoma DSD recorder (console was bypassed).
“Mas Que Nada” (Spanish Lyric Version – Jorge Ben/Emily Cranz) Peer International Corp. (BMI)
Classical Guitar – R-122V
Recorded and mixed by Al Schmitt
Recorded at Capitol Studios (Studio A), Hollywood, CA.
Recording chain: All mics into Upstate Audio preamps and direct to Pro Tools HD at 24/192.
Classical Guitar: Two R-122V’s as main mics on solo classical guitar, approximately 3 ft high, 30 inches apart and 3 ft back from the guitarist. AKG C-12’s as room mics and Sennheiser MKH-800’s as ambient mics.
a) “Presto from Piano Sonata #2 in F major” (Mozart)
b) “Bajo La Palmera” (Isaac Albeniz)
Vocal Ensemble – SF-12
Recorded and mixed by Russell Dawkins
Recorded in The Belfry theatre in Victoria, BC, Canada.
12 piece vocal ensemble: One SF-12 positioned in the center of the group. Singers at the front and back of the mic, 6 ft from the microphone.
Recording chain: SF-12 into True Systems preamp (45 dB gain), into Metric Halo Mobile I/O 2.8.8.2 +DSP into Mac Powerbook G4.
“More, Moma Bega, Lele” (Traditional from Macedonia)
Vocal/Instrumental Group – SF-24
Vocals – SF-24
Acoustic Guitar – SF-24
Bodhran – R-122
Engineers: Steve Barker and Peter Cutler
Recorded live at the studios of the FolkScene radio show.
These three exceptional recordings were made during a live performance for radio broadcast on FolkScene in Los Angeles.
While listening to The Wailin’ Jennys rehearsing, the engineers decided that the best performance would come from letting the group play live with no headphones, essentially mixing themselves in the process. One SF-24 stereo ribbon microphone was placed in the center of the room. Two singers were positioned left and right of the front side of the mic at a distance of 24-inches, and the third singer was positioned at the center of the back side of the mic at a distance of 18-inches. An R-122 was added to the Bodhran in “Saucy Sailor.”
An excellent stereo image was created by the left-center-right positioning of the musicians. No panning, mixing, or overdubs were done.
Recording chain: SF-24 and R-122 into VacRack tube preamps, to two VacRack limiters (3 dB limiting), to Mackie 1604 VLV Pro mixer. 1.5 dB of the Mackie’s high end EQ was added, the Mackie’s 75 Hz high pass filter was engaged, and some Lexicon reverb was added. The Mackie outputs were fed to the analog inputs of an HHB CD recorder.
1) “Saucy Sailor” (Traditional)
2) “Ten Mile Stilts” (Nicky Mehta)
3) “One Voice” (Ruth Moody)
Brass – R-121, R-122
Saxophone – R-121
Drums – SF-12
Percussion – SF-24
Vocals – SF-24
Sousaphone – R-122
Recorded and mixed by Clint Bennett. Produced by Anthony Marinelli & Shawn Amos.
Recorded at Westlake Studio D (Los Angeles, CA) and Bismeaux Studio (Austin, TX). Additional recording and all mixing at Music Forever.
Recording chain: All mics into Neve VR console preamps at Westlake and API console preamps at Bismeaux. Recorded to Pro Tools HD at 96k. Digi 192 converters at Westlake and Bismeaux, and Apogee converters at Music Forever.
Special thanks to Shout Factory for the use of these recordings.
“Flying High” (Gaye, Stover) – SONG INTRO
1a) Full Mix
1b) Isolated Saxophone: R-121 on saxophone
“Flying High” (Gaye, Stover) – SONG ENDING
2a) Mix
2b) Isolated Vocals, Claps, Percussion: One SF-24 with musicians gathered around it.
2c) Isolated Horn Stem: R-121’s and R-122 on various horns.
2d) Isolated Drums: SF-12 on drum overhead, low and towards the front of the kit.
2e) Isolated Sousaphone: R-122 on sousaphone.
Trumpet – R-121
Trombone – R-122
Electric Guitar – R-121
Drums – SF-12
Sousaphone – R-122
Recorded and mixed by Clint Bennett. Produced by Anthony Marinelli & Shawn Amos.
Recorded at Westlake Studio D, Los Angeles CA. Additional recording and all mixing at Music Forever.
Recording chain: All mics into Neve VR console preamps. Recorded to Pro Tools HD at 96k. Digi 192 converters at Westlake Studios and Apogee converters at Music Forever.
“What’s Going On” (Benson, Cleveland, Gaye)
a) Full Mix
b) Isolated Trumpet & Trombone: R-121 on trumpet and R-122 on trombone.
c) Isolated Electric Guitars: R-121 on electric guitars.