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
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.
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.
Electric Guitar – Heavy Rock – R-121 Drum Room Mics – R-121
Engineered by Joe Barresi, Allen Sides and Johnny K. Produced by Joe Barresi and John Sullivan.
Recorded at Ocean Way Recording, Hollywood, CA / Bay 7, Valley Village, CA /
Groovemaster Studios – Chicago, IL.
From the Hollywood Records release “Loudmouth”.
R-121’s on electric guitars.
Two R-121’s as drum room mics.
Produced, engineered and mixed by Ross Hogarth.
Recorded at Rumbo Recorders, Canoga Park, CA.
All tracks recorded to ProTools at 48K.
1) “Rowboat” (Casey, Daniels, French)
a) Full Mix
b) Electric Guitars: R-121, SM-57 and 421 clustered on one 4X12 cabinet speaker.
Recording chain: R-121 to V72 Telefunken tube pre, SM-57 and 421 to Trident console preamps.
c) Drum rooms: R-121 & Coles 4038 blended. Coles 2 ft back from kit, 121 five ft back from kit.
Recording chain: R-121 and 4038 to Trident console preamps, to Chandler EMI compressor. Recorded to ProTools at 48K.