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.


Andy Georges – Comparison Tracks

Electric Guitar – R-121
Comparison Tracks

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.

 

Loudmouth

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.

1) “Rats In The Maze” (John Sullivan)

 

2) “Maybe” (Tony McQuaid)

 

3) “End Of The Century” (John Sullivan)

 

4) “No Heroes” (John Sullivan)

Marvelous 3

Electric Guitar – R-121

Engineered by Jerry Finn, Butch Walker and Joe McGrath. Produced by Jerry Finn.
From the Elektra Entertainment release “ReadySexGo”.

R-121’s on electric guitars.

a) “Beautiful” (Butch Walker )

 
 

b) “I Could Change” (Butch Walker)

Chlorine

Electric Guitar – R-121

Produced and engineered by Matt Hyde
Recorded at Sound City Studios, Van Nuys CA and Grand Master Records, Hollywood CA.
From the Time Bomb Recordings release “Primer”

R-121’s on electric guitars.

a) “Disappear” (Mark Fain)

 
 

b) “Way Out” (Mark Fain)

The Carl Verheyen Band – Full Mix and Isolated Track

Electric Guitar – R-121 & SM57
Drum Room – SF-12

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

 
 

b) Isolated SF-12 as drum room mic.

Robert Cray

Electric Guitar – R-121
Vocals – R-121

Recorded and mixed by Don Smith. Produced by Steve Jordan.
Recorded at Woodland Studios, Nashville, TN
From the Rycodisc, Inc. release “Shoulda Been Home.”

1) “Baby’s Arms” (Robert Cray)
R-121 on electric guitar.

 
 

2) “Help Me Forget” (Robert Cray)
Backward R-121 on vocals. R-121 on electric guitars.

Jewel

Pedal Steel Guitar – R-121
Orchestra – R-121

Recorded and mixed by Michael O’Reilly. Producer – Arif Mardin.
Recorded at Right Track Recording – New York, NY.
From the Atlantic RecordingCorporation release “Jewel – Joy: A Holiday Collection”.

1) “Winter Wonderland” (©1934 Dick Smith & Felix Bernard)
R-121’s on pedal steel guitar and orchestra.

 
 

2) “Hands” – Christmas version (Jewel Kilcher, Patrick Leonard, ©1998)
Orchestra in a horseshoe shape with the woodwinds behind, recorded with a pair of R-121’s in Bloomlein configuration. “A “tiny bit” of one U-67 was blended in on the orchestra.

Sixpence None The Richer

Electric Guitar – R-121
Cello – R-121

Engineer, Russ Long. Producer, Steve Taylor.
Recorded at The White House and The Carport, Nashville, TN.
From the Squint Entertainment – Elektra/Asylum release “There She Goes”.

This track was recorded while Russ Long was reviewing the R-121 for Pro Audio Review Magazine in 1999 (read review).

Two R-121’s used to record all electric guitars and cello.

Interestingly, the lead vocal on this track (and also on the Sixpence hit “Kiss Me”) was sung on a Coles 4038 ribbon microphone, highly equalized to approximate the performance of a condenser microphone. Ribbons are extremely EQ-friendly, so don’t be afraid to turn the knobs!

“There She Goes” (L.A. Mavers)

Diana Krall

Electric Guitar, Jazz – R-121

Recorded and mixed by Al Schmitt. Producer, Tommy LiPuma.
Recorded at Avatar Studios, New York, NY.
From the GRP Records Inc. “Verve” release “Diana Krall – When I Look In Your Eyes”.

Note: Al Schmitt won a Best Engineered Album Grammy for this record.

R-121 on jazz electric guitar.

a) “Popsicle Toes” (Michael Franks)

 
 

b) “Let’s Fall In Love” (Ted Koehler)