Richard Galliano

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

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

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

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

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

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

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

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.


 

String Quartet – Microphone Comparisons

Strings – SF-24, R-122, R-122V
Microphone Comparisons – SF-24, R-122, R-122V, Schoeps CMC6-U small diaphragm condensers.

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.

a) Single SF-24

 

b) Pair of R-122’s

 

c) Pair of R-122V’s

 

d) Pair of Schoeps CMC6-U’s

Keith Urban – Partial Live Mix and Isolated Drums

Drums, Live – SF-24

FOH Engineer: Steve Law   Monitor Engineer: Jason Spence
Recorded live at the Gwinnett Center, Gwinnett, GA

Drummer: Chris McHugh.

“I Told You So” (Keith Urban)

a) Partial live mix showcasing drums

 

b) Isolated Drum Overhead: SF-24 over kit, to Yamaha PM1D to Pro Tools. Clocked using Apogee Big Ben @ 48K.