Darlingside

Recorded live at the Folk Alliance Convention, in the Sweetwater/Royer/Mojave Pop-Up Studio

Stereo Room Mic – SF-24
Cello – SF-2
Violin & Violinist Vocal – SF-2
Acoustic Guitar (left, into small guitar amplifier) – R-122V
Foot Taps – Mojave Audio MA-100’s
Acoustic guitar (right) – Mojave MA-300
Vocals – Mojave Audio MA-1000, MA-300, MA-301

Darlingside came into our Pop-Up studio with a few friends and a ton of energy, worked out the final details of the song on the spot, then killed it in this beautiful take.

Engineers: Dan Ankney, Nathan Heironimus
Mixed by Dan Ankney

Recording Chain: Royer Labs and Mojave Audio microphones fed into Universal Audio 8p’s. Recorded to Pro Tools.
Sweetwater Studios, Royer Labs and Mojave Audio set up a portable Pop-Up studio in a hotel conference room at the 2016 Folk Alliance Convention in Kansas City and recorded a number of artists and groups attending.

Darlingside “Birds Say” (© Darlingside)

Rachel Barton Pine

Solo Violin – two SF-2’s

Producer: Steven Epstein, Engineer: Bill Maylone
Recorded at St. Paul’s United Church Of Christ, Chicago IL
Scroll down for video with comments from the producer, engineer and artist.

In this exceptional solo violin performance, Rachel Barton Pine plays a Guarneri del Gesù in St. Paul’s church, Chicago, IL.

Recording chain:  Two SF-2 ribbon mics to John Hardy M-1 preamplifiers to RME Fireface 800. Recorded to Pro Tools 10.
No compression or outboard gear. Due to being on location in a large church in an urban area, the only EQ is a 50 Hz, first order hi-pass to keep out the rumble from buses outside. Original recording is 24 / 96, converted to 16 / 48 for the video.

Rachel Barton Pine performs Preludio to Bach’s E Major Partita for unaccompanied violin, BWV 1006

For more information on Rachel Barton Pine, visit http://rachelbartonpine.com

In this accompanying video, Steven Epstein, Bill Maylone and Rachel Barton Pine offer their thoughts on the recording process.

Fab Dupont / Will Knox

Acoustic Guitar – SF-1
Violin – R-121
Banjo – SF-2
Standup Bass – R-122
Drum Overhead – SF-24
Drums, Tom-Toms – R-122
Drums, Kick – R-122V
Drums, Hi-Hat – R-121

Producer: Fab Dupont.  Engineer: Meredith McCandless

When our friend Fab Dupont set out to record singer/songwriter Will Knox’s album “The Matador And The Acrobat” with engineer Meredith McCandless, they decided to track the album entirely with Royer ribbons (except for a condenser on Will’s vocal and a dynamic on the snare). Here is a behind-the-scenes look at the recording process that Fab and company so kindly put together for us.

Fab-tn

 

Vocals & Guitar: Will Knox
Violin: Clayton Mathews
Banjo: Kyle James Houser
Standup Bass: Chris Anderson
Drums: Timur Yusef

Visit Fab’s website at www.fabulousfab.com. Visit Flux Studios at www.fluxstudios.net.

Puremix.net is an educational website featuring a wide assortment of videos on recording, mixing, mastering and much more. Puremix.net was created by Fab Dupont; his partners in Puremix now include Ben Lindell and Ryan West.

 

Rafael Manriguez and Quique Cruz

Violin – R-121

Engineer: Brian Knave
Recorded at White Cow Studio.

One R-121 on violin.

From the Wariznake Productions release “Amistades / Friendship”.

“Cancion del atardecer” (Rafael Manriguez)

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)

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

Foghorn Stringband

Bluegrass Band – SF-24
Acoustic Guitar – SF-24
Fiddle – SF-24
Mandolin – SF-24
Standup Bass – SF-24

Recording Engineer: Stephen Schauer

Recording Chain: See Recording Notes below

Foghorn Stringband playing live at Old Style Guitar Shop, presented by The Bluegrass Situation. Great performance of the old Stanley Brothers tune We’re Going to Paint the Town and Kennesaw Mountain Rag. Caleb Klauder on mandolin, Sammy Lind on fiddle, Nadine Landry on bass, and Reeb Willms on guitar.

 

foghorn-strings

Recording Notes from engineer Stephen Schauer:

I had a wonderful opportunity to shoot and record a little video of Foghorn Stringband for Ed Helm’s traditional music website, The Bluegrass Situation (www.thebluegrasssituation.com). This kind of music is close to my heart, so it was a blast to get this time with such an amazing and talented group of folks.

We had an hour with the band and a crew of just 3, so I had to operate a camera AND run sound. The audio setup had to be fast and simple with great fidelity AND not clutter the frame. Using a Royer SF-24 in the center of the band allowed them to play in a traditional way – gathered around a single mic as was done for the last hundred years. It allowed them to huddle up close, and a great performance that you can only get when the band can really hear themselves and play off each other’s energy. The sonic character of the mic was a great complement to voices and the strings.

Regarding the technical side, we kept it simple so I didn’t need to do much fancy footwork in the edit and mix. I had the SF-24 front and center and tried to contain the performers within the front lobes of the figure 8. The room was tiny, but thankfully it was trapezoidal so there were fewer standing resonant tones in the room. The SF-24 is 9-% of what you hear in the recordings.

I panned out the Royer 60% left and right until the soundstage felt like it matched the visual, I put a little notch in the EQ around the lead singer’s voice to help bring it forward, and rolled off the bass of the SF-24 with a mellow high pass curve set at around 70hz (to clean up the room tone and leave space for a close mic I had on the bass, which was panned to match her position).

I had an AKG 451EB on the floor close to the bass, with a low pass filter set for 700 Hz, and a Beyerdynamic MC834 in the adjacent guitar showroom for nice real room ambience that I could mix in later if needed, rather than relying on reverb plug-ins. The MC834 had a high pass filter set at 500 Hz, and the mic was mixed back about 5 dB.

On the master, I pushed up the 300-1200hz about 1 dB, used a little preset compression that sounded good, added a tiny bit of reverb, and used a limiter with about 2db threshold to get the overall levels up for the video.

I recorded directly into a Tascam HS-p82 with no outboard preamps and mixed it all in Reaper with the stock plug-ins, on my laptop.

-Stephen Schauer

 

Play video

String Quartet – Microphone Comparisons

Strings – SF-24, R-122, R-122V
Microphone Comparisons – SF-24, R-122, R-122V, Schoeps CMC6-U small diaphragm condensers.

Engineer: Ron Searles
Recorded at CBC Studios, Toronto, Canada

During an AES event in Toronto Canada, a cluster of microphones was set up over a string quartet for listening and making comparisons. The cluster included one SF-24, two R-122’s, two R-122V’s, and two Schoeps CMC6-U’s (set for omni), 6 ft high and 8 ft back from a string quartet.

Recording Chain: All mics fed into Universal Audio 8110 preamps. Recorded flat with no EQ or compression to ProTools at 96K.

Special thanks to Dave Dysart, HHB Canada for arranging the event.

a) Single SF-24

 

b) Pair of R-122’s

 

c) Pair of R-122V’s

 

d) Pair of Schoeps CMC6-U’s

Jamie Laval & Ashley Broder – Full Mixes and Isolated Tracks

Mandolin – SF-24 (one side of microphone only), R-122V
Fiddle – R-122V

1) “The Bridge of Cally” (Jamie Laval)

Engineer: Jay Manneschmidt

Instruments recorded live, within 6 ft of each other, with separation achieved by using microphone’s null points.

Recording chain: SF-24 and R-122V through Gordon preamps, into Lavry Gold A/D converters and recorded into Sequoia/Samplitude at 88.2 KHz. No EQ used.

1 a) Full Mix

 

 

1 b) Mandolin
Mandolin: SF-24 (only one side used, for a mono recording) twelve inches from mandolin, pointed at the 12th fret.

 

 

Violin
Violin: R-122V twenty-two inches away from violin, slightly above the strings and 45 degrees left of center from the “F” holes.

 

 

2) “Levantine’s Spinning Barrel” (Laval, Broder)

Engineer: Peter Cutler.

Recorded during live broadcast on the Los Angeles radio show FolkScene.

Mandolin & Fiddle: Two R-122V’s; one in front of the mandolin (pointing at neck/body joint) and one above the fiddle. The null points of each mic were positioned to reject bleed, giving each instrument isolation from the other while being played in close proximity. (See photos)

 

 

 

Devotchka – Full Mix and Isolated Tracks

Violin – R-122V
Strings – R-122V

Recorded and mixed by Craig Schumacher
Recorded at Wavelab, Tucson, AZ.

Recording chain: R-122V’s into True Systems preamps. no compression or EQ. Recorded to Pro Tools.

“Transliterator” (Devotchka, Urata)

a) Full Mix

 

 

b) Isolated Violin: Stereo pair of R-122V’s over a violin

 

 

c) Isolated String Section: Stereo pair of R-122V’s over a string section.