Roger Wojahn & Scott Wojahn – Commercial Scores

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. 

1. Commercial (Roger Wojahn & Scott Wojahn)

 
 

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.

2. Commercial (Roger Wojahn & Scott Wojahn)

Cyrius

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”.

 
“Tout ce Temps” (Boris Bergman & Cyrius Martinez)

Les Go

Percussion – R-121, SF-12

Recorded, mixed and produced by Bruce Swedien.
Recorded at Presence Studios and Westviking Studios. Mixed at Westviking Studios.
From the Juna release “Les Go.”

All percussion instruments recorded with two R-121’s and an SF-12 stereo ribbon microphone.

“Mother”

 

“Faso Den”

 

 

Ukrainian Radio and Television Orchestra

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.

Sergei Prokofiev – “Romeo and Juliet, Suite No. 2”

 

 
Sergei Prokofiev – “Romeo and Juliet, Suite No. 2” excerpt 2

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.

Play Audio



 

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.


Eliane Elias

Shaker – R-122

Vocals and percussion recorded by Bruce Swedien. Mixed by Bruce Swedien.
Vocals and shaker recorded at Westviking Studios, Ocala, FL.

Shaker: Two R-122’s in Blumlein position, shaker 12-inches from the mics.

Recording chain: R-122’s to Universal Audio 2-610 preamplifier. Hi pass filter set at 100Hz, 1 dB push at 5K and 1 dB at 10K. Recorded to Pro Tools.

“The Song Is You” (O.Hammerstein II, J.Kern)

Mark Holdaway

Kalimba – R-122V

Recorded and mixed by Tim Weed
Recorded at Banjambo Studio.

Recording chain: R-122V’s to Prism Orpheus preamps, A/D at 24/96 into Digital Performer 5.13. No EQ or compression.

Kalimba: Two R-122V’s used on four tracks of Kalimba. Positioned slightly off axis 6″ to 10″ from small Kalimbas. Two R-122V’s on Bass Kalimba, one at 6″ centered for proximity effect and one at 5′ directly above.

“Star Hop” (Mark Holdaway)

 

 

 

Andy Georges

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.

The Wailin’ Jennys

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)

Dirty Dozen Brass Band 1

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.