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.
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.
Recording Engineer: Robert Friedrich Producer: Erica Brenner
In this video, Grammy-winning engineer Robert Friedrich talks about using ribbon microphones extensively while recording the San Diego Symphony playing “The Carnival Of The Animals.” Of particular interest is his microphone technique on the dual pianos, which were positioned side-by-side and recorded with a pair of R-122V’s and a pair of R-122’s.
Recorded by Ross Hogarth
Recorded at Sweetwater Studios, Ft. Wayne IN
Grammy winning Producer/Engineer Ross Hogarth gives a seminar on his techniques for recording drums and electric guitars with ribbon mics, showing mic placements and letting us hear mixed and isolated ribbon-recorded tracks.
Drums – Kenny Aronoff
Full mix, conversation about drum mic placement, then isolated ribbon-recorded tracks. “Dreamer” (Lukas Rossi)
Electric Guitar – Lukas Rossi
Full mix, conversation about electric guitar mic placement, then isolated ribbon-recorded tracks. “Dreamer” (Lukas Rossi)
Arturo Sandoval demonstrates his trumpet and piano recording techniques in the best way possible, laying it down in the studio. Each of these videos feature Arturo soloing on the trumpet and then doing some extraordinary piano playing. For the trumpet demonstrations, engineer Don Murray removed Arturo’s solo tracks from two recordings featured on Auturo’s record “Dear Diz (Every Day I Think of You)” and Arturo recorded new solos.
Recording chain Trumpet: Royer R-122 and SF-24V into Millennia HV-3D preamplifier. Bricasti reverb. Recorded to Pro Tools. Recording chain Piano: Royer SF-24 and two Mojave Audio MA-300’s into Millennia HV-3D preamplifier. Recorded to Pro Tools.
The instruments are miked the way Arturo records in the studio: Trumpet – one R-122 close mic, with an SF-24V at a distance and blended for added dimension. Piano – One SF-24V at the knee of the piano, with two Mojave Audio MA-300’s set in Cardioid and spread out.
(Arturo normally uses SF-24’s in the distant trumpet position and on piano, but we had SF-24V’s on hand.) Trumpet: “Things to Come” (Walter Gilbert Fuller, Dizzy Gillespie) Piano: “Surena” (Arturo Sandoval)
Trumpet: “And Then She Stopped” (Dizzy Gillespie) Piano: “Smoke Gets In Your Eyes” (Jerome Kern, Otto Harbach)
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.
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.
Grammy winning Engineer/Producer Ross Hogarth and session guitarist extraordinare Tim Pierce joined us to create an 8-part video series featuring an in-depth look at Hogarth’s electric guitar miking techniques. These videos are an excellent opportunity for recording engineers at all levels to learn new methods or brush up on some great guitar miking techniques.
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.