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.
Score recorded and mixed by Alan Meyerson
Recorded at Sony Scoring Stage, Culver City, CA.
Recording chain: R-122V’s to Grace 801 preamps. Recorded to Pro Tools HD using Digi 192 converters.
Isolated drum tracks excerpted from the Pirates of the Caribbean score. Three drummers (Vinnie Colaiuta, Abe Laboriel Jr. and JR Robinson) playing simultaneously with nothing but one R-122V over each kit and a kick drum mic on each kit.
Drummers: Vinnie Colaiuta, Abe Laboriel Jr., JR Robinson
Recorded and mixed by Al Schmitt
Recorded at Capitol Studios (Studio A), Hollywood, CA.
Recording chain: All mics into Upstate Audio preamps and direct to Pro Tools HD at 24/192.
Classical Guitar: Two R-122V’s as main mics on solo classical guitar, approximately 3 ft high, 30 inches apart and 3 ft back from the guitarist. AKG C-12’s as room mics and Sennheiser MKH-800’s as ambient mics.
a) “Presto from Piano Sonata #2 in F major” (Mozart)
Recorded and mixed by Kevin Killen. Producer, Joe Henry.
Recorded at Avatar Studios, New York, NY.
Recording Chain: Piano – SF-24 positioned at the edge of the piano lid, center of the piano. SF-24 into Neve 8088 console preamps. 1 dB boost at 16K using Millennia NSEQ-2 stereo equalizer in tube setting. Recorded to ProTools. Upright Bass – R-122V into Neve 8088 console preamp. 1/2 dB boost at 12K using a Pultec EQP-1A, and 1 dB compression. Recorded to ProTools.
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.
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: 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)