Recorded by Jim Mitchell
Recorded at Slashes home studio, Snakepit Studios.
R-121 & SM57 combined on a Marshall 4-12 cabinet with no EQ, effects, or compression.
A few years after Royer opened we visited Slash and recording engineer Jim Mitchell during a session. Slash’s Marshall was miked with an R-121 & SM57 and Slash was tearing it up – it sounded fantastic. I asked if they would give us a solo guitar recording of Slash for our first demo CD and Slash very kindly laid this one down for us.
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.
Engineer: Dusty Wakeman
Recorded directly to 20-bit ADAT at Mad Dog Studios, Burbank, CA
a) One R-121 six inches from a guitar cabinet. Fender Stratocaster with single-coil pickups, into a Matchless amplifier with a Marshall 4-12 cabinet. At this distance you hear little or no room ambience.
b) Same Stratocaster/Matchless combination, with the R-121 three feet from the cabinet. The mic is three feet high and pointed directly at the cabinet. At this distance, the cabinet’s tone becomes more apparent and room ambience plays a more important role in the overall sound.
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.
Recorded by Shawn Sullivan
Recorded at World Class Audio, Anaheim CA
R-121 and SM57 on guitar (blend of 60% R-121, 40% SM57), with an SF-12 further back in the room for ambience.
SF-12 as drum room mic.
This is a rough mix of the first session, with Carl’s guide vocal track.
“Lay Your Hammer Down” (Carl Verheyen) a) Full Mix