Category Archives: SF-24

Ross Hogarth – Various Isolated Tracks

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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.


Anthony Marinelli

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Strings – SF-24
Strings – R-122

Recorded, co-produced and mixed by Clint Bennett. Co-produced by Anthony Marinelli.
Recorded at Studio Smecky, Prague.

From the film The Human Contract

String Section: SF-24 (main mic) and two R-122’s (supporting mics) on strings.

Recording chain: All micas to Amek Media 51 console preamps, to Apogee conversion @ 48k. Recorded to Pro Tools HD.

“Julian & Rita” (Anthony Marinelli & The Graves Brothers)

Richard Galliano

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Accordion – SF-24
Piano – SF-24

Recorded and mixed by Charlie Paakkari. Produced and arranged by Richard Galliano.
Recorded at Capitol Studios, Studio B, Los Angeles, CA.

Recording chain: All mics into Neve 31102 preamps. No EQ or compression. Mic pre’s fed directly to Pro Tools at 88.2.

Accordion: One SF-24 and two Mojave Audio MA-100’s on accordion (mixed SF-24 70%, MA-100’s 30%).

Piano: One SF-24 and two U-67’s on piano (mixed 50-50).

The Musicians:
Accordion: Richard Galliano, Piano: Gonzalo Rubalcaba, Double Bass: Charlie Haden, Drums/Percussion: Mino Cinelu.
Recording & Business Affairs: Emmanuel Jolivet emmanuel.jolivet@free.fr

“Aurore” (Richard Galliano)

Poulenc Flute Sonata 1st Movement

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Piano – SF-24
Flute – SF-24

Engineer: Tony Faulkner. Producer: Jeremy Hayes.
Recorded in Potton Hall, Westleton, Suffolk, England.

Recording chain: Recorded on a SADiE LRX system using SADiE LXR preamps.

Piano & Flute: SF-24 main microphone. Subsidiary microphones: Rode NT-6 omnidirectionals flanking the SF-24 on stereo bar. Spacing between Rodes, 66cms.

Flute: Guy Eshed
Piano: Tim Horton

“Poulenc Flute Sonata 1st Movement” (Francis Poulenc)

Malcolm McNab

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Brass – R-122, SF-24
Trumpet – R-122, SF-24
Trombone – R-122, SF-24
French Horn – R-122, SF-24
Bass Trombone – R-122, SF-24

Produced, recorded and mixed by Gary Grant
Recorded at Midlothian Recording Studio, Pasadena, CA.

RCA 10001 spot mic and SF-24 room mic on Malcom McNab’s Solo trumpet (RCA 60%, SF-24 40% in the mix).
Brass, French Horn and Bass Trombone recorded on R-122’s with an SF-24 as room mic.

Recording chain: RCA 10001 into a UA 2-610 tube preamp, SF-24 and R-122’s into a Millennia HV-3D preamp. Recorded to Digital Performer HD 192 (at 88.2/192), using the HD 192 converters. TC Electronics M-6000 and Lexicon 960 and 480 reverbs used in the mix. No compression, limiting or EQ used.

“Saloon Music for Bb Cornet and Pit Orchestra” (Bruce Broughton)

 

 

Andy Georges

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Acoustic Guitar – R-121
Baritone Acoustic Guitar – SF-24
Vocals – R-121
Electric Guitar – R-121
Percussion – R-121

Multi-Instrumental Musician/Engineer/Producer Andy Georges worked at Royer Labs for years and remains a good friend of the company. He created many recordings at home and in Los Angeles studios and you’ll find much of his work in this Library.

1) “My Guitar is on Fire” (Andy Georges)

Recorded and mixed by Andy Georges
Recorded at Andy’s home studio.

SF-24 on an acoustic baritone guitar, ten inches from the 12th fret, blended with a piezo pickup. SF-24 80%, piezo 20% in the mix.

Recording chain: SF-24 into a Royer custom built class A tube preamp. Piezo into a Motu 828 preamp. Compression on both mic and piezo. High shelving roll-off on piezo starting at 4K. Recorded into Digital Performer.


 
 

2) “Sleep Easy Hutch R” (Alex Wurman)

Recorded and mixed by Alex Wurman

R-121 turned backwards on an acoustic guitar.

 
 

3) “Music Of The Speres” (Andy Georges)
Recorded to Digital Performer and mixed by Andy Georges in his home studio. Vocals and all instruments tracked on a backward R-121.

The Wailin’ Jennys

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Vocal/Instrumental Group – SF-24
Vocals – SF-24
Acoustic Guitar – SF-24
Bodhran – R-122

Engineers: Steve Barker and Peter Cutler
Recorded live at the studios of the FolkScene radio show.

These three exceptional recordings were made during a live performance for radio broadcast on FolkScene in Los Angeles.

While listening to The Wailin’ Jennys rehearsing, the engineers decided that the best performance would come from letting the group play live with no headphones, essentially mixing themselves in the process. One SF-24 stereo ribbon microphone was placed in the center of the room. Two singers were positioned left and right of the front side of the mic at a distance of 24-inches, and the third singer was positioned at the center of the back side of the mic at a distance of 18-inches. An R-122 was added to the Bodhran in “Saucy Sailor.”

An excellent stereo image was created by the left-center-right positioning of the musicians. No panning, mixing, or overdubs were done.

Recording chain: SF-24 and R-122 into VacRack tube preamps, to two VacRack limiters (3 dB limiting), to Mackie 1604 VLV Pro mixer. 1.5 dB of the Mackie’s high end EQ was added, the Mackie’s 75 Hz high pass filter was engaged, and some Lexicon reverb was added. The Mackie outputs were fed to the analog inputs of an HHB CD recorder.

1) “Saucy Sailor” (Traditional)

 
 

2) “Ten Mile Stilts” (Nicky Mehta)

 
 

3) “One Voice” (Ruth Moody)

Gordon Goodwin – Full Mix and Isolated Tracks

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Brass – R-121, SF-24
Trumpet – R-121
Trombone – R-121

Recorded and mixed by Tommy Vicari
Recorded at Bill Schnee Studios, North Hollywood, CA.

Recording chain: All Royer mics through Millennia HV-3D preamps. SF-24 room mic through HV-3D preamp to GML EQ with 3 dB boost at 10K. Recorded to Pro Tools HD.

“Backrow Politics” (Gordon Goodwin) – Full mix from two sections of the same song, with isolated tracks 

a) Full Mix

 
 

b) Isolated Trumpet solo: R-121 on soloist.

 
 

c) Full Mix 2.


 
 

d) Isolated Brass & Sax Section: Eight R-121’s on trumpets & trombones, with SF-24 room mic.

 
 

e) Isolated Brass & Sax Section: SF-24 room mic alone.

Allen Toussaint – Full Mix and Isolated Tracks

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Piano – SF-24
Upright Bass – R-122V

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.

“That’s My Home” (Sydney Robin)

a) Full Mix

 
 

b) Isolated Piano: SF-24 on piano


 
 

c) Isolated Upright Bass: R-122V on upright bass


Holly Cole – Full Mix and Isolated Tracks

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Piano – SF-24
Acoustic Guitar – R-122

Recorded and Mixed by George Seara
Recorded at Phase One Studios, Toronto, Canada.
Record Label: Alert Music / Koch.

Recording chain & notes: See below

“Waters of March” (Jobim)
a) Full Mix


b) Piano: Isolated SF-24 at the curve of the piano pointed towards the middle.
Two U-87s (not heard in this isolated SF-24 track) were positioned close to the piano strings, spaced low and high over the strings. The final mix blend was 70% SF-24, 30% U-87.
Recording chain: SF-24 to API 212L mic preamps into Apogee AD16 A/D converter.


c) Acoustic Guitar: Isolated R-122 on the guitar neck.
A Calrec 1050C (not heard in this isolated acoustic guitar track) was also used on the body of the guitar, blended slightly.
Recording chain: DW Fearn VT-2 mic preamps into UA 2192 A/D converter.