Jason Graham, Recording and Broadcast Engineer for The Church of Jesus Christ of Latter Day Saints, explains how he uses ribbon mics when recording The Tabernacle Choir at Temple Square (formerly Mormon Tabernacle Choir) and also The Millennial Choirs and Orchestras.
Preamplifier and placement information is included in the video. The songs featured in the video are included below in their entirety.
SF-24V: Choir, Oipe Organ, Room
dBooster: support Woodwind mics
Multi-Grammy Award winning recording engineer Michael Bishop explains how he mics and records this phenomenal CancerBlows live performance. Featuring some of the best-known trumpet players alive, the music is fantastic and Michael’s thoughts on how to capture brass, orchestra and big band properly using ribbon microphones is invaluable.
Huge thanks to Ryan and Niki Anthony, Michael Bishop and Erica Brenner.
The recording is available on Music=Hope Records and all proceeds from the sale of the recording help fund cancer research. Purchase the music: CD/DVD (the full concert and music experience): http://www.cancerblows.com/shop.php
In this video, Producer/Engineer Ross Hogarth demonstrates his dual microphone positioning techniques using a Royer ribbon mic and an SM57 on a guitar cabinet. He uses an open speaker to clearly show where to put mics and how to avoid phasing issues. He also explains why he likes these positions.
The R-122 MKll is an extremely versatile phantom-powered ribbon mic with a switchable -15 dB pad and a switchable bass roll-off set at 100 Hz, 6 dB per octave.
Recorded by Michael Wagener at WireWorld Studio, Nashville TN.
Recording chain: R-122 MKll to Chandler TG2 preamplifier. Recorded to Nuendo.
Close miking electric guitars with an active ribbon mic can result in microphone or preamplifier distortion if:
1) the mic’s output is too hot for the following mic pre to handle.
2) the mic is plugged into a preamplifier with low input impedance, or
3) the phantom power is weak,
The R-122 MKll’s -15 dB pad reduces the mic’s sensitivity to 2 dB LESS than our non-powered R-121, giving the mic plenty of headroom even in torturous conditions.
In this video, we used a 100-watt Metropoulos 12,000 amplifier turned up LOUD but fairly clean. See recording notes below.
R-122 MKll Test Tracks Continued
Randy Kohrs playing Dobro. Recorded by Randy Kohrs at Slack Key Studio, Nashville TN.
Recording chain: R-122 to RTZ preamplifier. Recorded in Pro Tools
1) R-122 MKll on Dobro, flat with no switches engaged.
2) R-122 MKll on Dobro with low cut switch engaged.
3) R-122 MKll on Dobro with low cut switch and -15 dB pad engaged.
4) R-122 MKll on Dobro with low cut switch and -15 dB pad engaged. The RTZ preamp is turned up 15 dB to make up for the -15 dB pad, bringing in more of the personality of the pre.
Recording chain: R-121 and SM57 one inch from the cabinet into Shadow Hills Equinox mic pre’s (Steel setting). Both mics were bussed to one track – the mix was committed to while recording.
Recorded to ProTools.
Amps: Blankenship Carry-On 1×12 combo and Marshall JCM 800 into 4×12. Marshall used for solos.
Pawn Shop Tattered Heart received the Guitar Player Magazine’s “Editors’ Faves” for July 2014. Available through CD Baby & iTunes
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.
Vocals & Guitar: Will Knox
Violin: Clayton Mathews
Banjo: Kyle James Houser
Standup Bass: Chris Anderson
Drums: Timur Yusef
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.