Lily Wilde And Her Jumpin’ Jubilee Orchestra

Brass – R-121
Drums – R-121

Recorded and mixed by Craig Brock. Produced by Tom Royer and Craig Brock.
Recorded at Whitehorse Studios, Portland, OR.

Two R-121’s capturing all the brass and drums in a live room (drums also have a single KM-84 small diaphragm condenser mic blended in, hung four feet above the snare).

From the Lil Tom Tom, Inc. release “Insect Ball”.

“Mister Five By Five” (© D. Raye & G. DePaul)

The Quincy Jones – Sammy Nestico Orchestra

Trumpet and trombones – R-121

Engineered and mixed by Tommy Vicari. Produced by Quincy Jones with Sammy Nestico and Jerry Hey.
Recorded at Capital Studios, Hollywood, CA
From the Qwest Records release “Basie & Beyond”.

Seven R-121’s capturing the trumpets and trombones.
Recorded digitally on Sony 3348-HR’s.

“Out Of The Night” (Sammy Nestico)


“Joy Of Cooking” (Sammy Nestico)

Coro Stella Alpina

Choir – SF-12

Recorded live by Marco Olivotto and Heliut Blais.
Recorded at Sala delle Mostre – Comune di Lavarone (TN) Italy.

Recording chain: One SF-12 stereo ribbon mic positioned for X-Y recording, to a Millennia Media HV-3 preamp. Recorded to an Alesis M20 at 20-bit, 44.1kHz. Imported into Pro Tools 24, then dithered to 16-bit with Waves Ultramaximizer L1+. No EQ, compression or reverb.


“Gli Aizimpoineri” (traditional), sung by Coro Stella Alpina

Michael DeTemple

Vocals – R-121
Banjo – R-121
Acoustic Guitar – R-121

Performed and recorded by Michael DeTemple.

Recording chain: R-121 directly into a Roland 1680 recorder in Michael’s home studio.

Banjo, guitar and vocal recorded separately using one R-121, then mixed in the Roland 1680.

“Fishin” (traditional)

Amalia Stephenson

Vocals – R-121
Acoustic Guitar – R-121

Engineer: Richard Dobson
Recorded to DAT in Richard’s home studio.

One forward-facing R-121 on vocals.
One R-121 on acoustic guitar, with a condenser mic lightly blended in.

“Silent Night” (Joseph Mohr)


Vocals – R-121
Acoustic Guitar – R-121
Drum overheads – R-121

Producer: Shawn Sullivan. Engineer: Kyle Homme.
Recorded to Pro Tools at World Class Audio, Anaheim, CA.

One backward R-121 on vocals and acoustic guitars. Two R-121’s on drum overheads.

Sean Sullivan was the original discoverer of the backward R-121 recording technique. Due to our patented offset ribbon element, the back side of the microphone is slightly brighter than the front side when placed within 3 ft of any sound source.

“Again” (Dan Sistos & Jevon McGlory)

Roger Wojahn & Scott Wojahn – Commercial Scores

Percussion – R-121
Electric Guitar – R-121
Violin – R-121
Drum Overheads – SF-12

Recorded and mixed by Steve Kempster.

Song 1. R-121’s on all percussion instruments and brass. SF-12 stereo ribbon mic on drum overhead.
Recorded to Sony 4038 (16-bit) at Signet Sound, Hollywood, CA. 

1. Commercial (Roger Wojahn & Scott Wojahn)


Song 2. R-121’s on all percussion instruments, guitars and violin. SF-12 stereo ribbon mic on drum overhead. 
Recorded on a Sony 3348 (16-bit) at Village Recorders, Los Angeles, CA.

2. Commercial (Roger Wojahn & Scott Wojahn)


Percussion – R-121, SF-12
Congas – SF-12
Timbales – R-121

Engineered and mixed by Bruce Swedien. Produced by Bruce Swedien and Andres Levin.
Recorded at Studios EGREM – Havana, Cuba / Fun Machine Studios – New York, NY / Westviking Studios.

All percussion instruments recorded with R-121’s and an SF-12.

From the Sony Records France release “Le Sang Des Roses”.

“Tout ce Temps” (Boris Bergman & Cyrius Martinez)

Les Go

Percussion – R-121, SF-12

Recorded, mixed and produced by Bruce Swedien.
Recorded at Presence Studios and Westviking Studios. Mixed at Westviking Studios.
From the Juna release “Les Go.”

All percussion instruments recorded with two R-121’s and an SF-12 stereo ribbon microphone.



“Faso Den”



Kevin Shepard – Drum Tracks

Kick Drum –  R-121
Drum Overhead – SF-12
Comparison Tracks

Engineer: Roger Summers
Recorded at Royaltone Studios, Burbank, CA

Session drummer Kevin Shepard playing a Gretsch kit in a large iso booth.

Recording chain: all mics through Neve console preamps, recorded directly to DAT.

1. Kick Drum/Room – one R-121 three feet from the front head.


2. SF-12 overhead, lightly EQ’d to open up highs.


3.  C-24 overhead (same position as the SF-12, for comparison)


4.  SF-1’s overhead, lightly EQ’d.
(The SF-1 is discontinued, but the active SF-2 sounds identical and has higher output.)


5.  SF-12 overhead (lightly EQ’d) and one R-121 three feet off the kick drum.


6. SF-12 overhead and one R-121 three feet off the kick drum. Same track as #5, but with no EQ.