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.
R-121 – 10 inches high and 20 inches off the front kick drum head. The microphone was leaned forward 45 degrees to take advance of the mic’s null points and isolate the kick drum from the rest of the kit.
Engineer – Les Camacho.
Recorded at Cornerstone Studios – Chatsworth, CA.
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)
Engineer/Producer: Russell Dawkins
Recorded at the studios of the Ukrainian Radio/Television Orchestra, Kiev.
Recording chain: One SF-12 stereo ribbon microphone with 35-feet of Monster cable connected to a Studio Technologies mic pre, then 6-feet of Monster cable to an Apogee A/D converter, to coaxial cable to the digital ‘in’ on a portable DAT machine. No compression or reverb used.
This exceptional recording of a full orchestra was made on one SF-12 stereo ribbon microphone, positioned over the conductor’s head, at a distance that achieved a nice balance of the orchestra and hall ambience. We use this recording regularly in seminars, as it’s a wonderful example of the amazingly natural reproduction a high-quality ribbon microphone is capable of delivering. The off-axis response is perfect, transients are natural with no overshoot or ringing, and the flat frequency response captures the full range of the orchestra with no peaks or dips anywhere throughout the frequency range.
Sergei Prokofiev – “Romeo and Juliet, Suite No. 2”
Sergei Prokofiev – “Romeo and Juliet, Suite No. 2” excerpt 2
Recorded by Dr. Fred Bashour
Recorded at The Cathedral of the Immaculate Conception, Denver, CO
Recording chain: One SF-12, 35 feet high, 30 feet back from the pipes, to a Millennia Media HV-3C preamp/ADC, and recorded directly to a Sony TCD-D10 PRO DAT machine.
This track was Dr. Fred’s first use of an SF-12 and was made while he was reviewing the microphone for Pro Audio Review. The final take utilized over 12 mics, but Dr. Fred provided this isolated SF-12 track to Royer Labs for demonstration purposes.
Performed by Ann Labounsky & David Craighead.
Jean Langlais, Mosaique, Vol. 3: (6) Double Fantaisie for Two Organists
Recorded by Steve Albini
Recorded at Electrical Audio, Chicago, IL.
In Royer’s early days, when many people didn’t understand ribbon microphones, Steve Albini was kind enough to make a number of educational recordings for us which we included on our first demonstration CD. Steve is a well-known, well-respected engineer who has plenty of experience with ribbon mics and thousands of engineers and producers have learned from these comparison recordings over the years.
Tape Op Magazine reviewed our Demo CD #1 and said this about Steve’s recordings:
“The ‘something special’ though is the Microphone Comparisons with Steve Albini at the end of the CD. Steve goes through and compares the R-121 to other mics (Coles 4038, SM57, etc.) and provides us with his wonderful dry commentary. We love ya Steve! Truly one of our favorite CDs at the studio these days.” -LC
All of Steve’s comparison tracks are here, along with his original commentary.
Saxophone (Coles 4038, R-121, close R-121, distant R-121)