Adam Del Monte

Classical Guitar – R-122V

Produced and Engineered by Adam Del Monte

From the Adam del Monte Performance Series.
Guitar built by Francisco Manuel Diaz, Granada.

Recording Chain: Audio on all videos recorded with one R-122V into a Millennia Media TD1 Half Rack Recording Channel, light EQ applied, into a Lexicon reverb.

Capricho Arabe by Francisco Tarrega

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Cordoba by Isaac Albeniz

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Recuerdos de la Alhambra by Francisco Tarrega

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Granada by Isaac Albeni

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Foghorn Stringband

Bluegrass Band – SF-24
Acoustic Guitar – SF-24
Fiddle – SF-24
Mandolin – SF-24
Standup Bass – SF-24

Recording Engineer: Stephen Schauer

Recording Chain: See Recording Notes below

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.

 

foghorn-strings

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.

-Stephen Schauer

 

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Randy Kohrs

Dobro – R-122
Banjo – R-122

Recorded by Randy Kohrs
Dobro and Banjo recorded into ProTools.

In these two videos, Grammy winning engineer/producer/musician Randy Kohrs shows us his techniques for recording Dobro and Banjo. It’s a great here’s-how-to-do-it for each instrument from an outstanding musician and engineer.

Randy Kohrs on recording Dobro
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Randy Kohrs on recording Banjo
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Ray Charles and Norah Jones with Billy Preston

B-3 – R-122
Piano – SF-12
Electric Guitar – R-121

Engineers: Terry Howard, Al Schmitt (mix)

This extraordinary session was held in Ray Charles’ Los Angeles studio in November 2003. I was privileged to attend and was given permission to take photographs with a small pocket camera. The musicianship was incredible, with most parts of the song being done in one or two takes.
-John Jennings, Royer Labs

B-3: Billy Preston’s Leslie cabinet was miked with two R-122’s, one positioned on the top horn and one on the bottom.

Piano: An SF-12 was positioned inside Ray’s piano alongside a couple of condenser mics. The SF-12 was the main mic used in the final mix.

Electric Guitar: The electric guitar amp was miked with an SM-57 up close and an R-122 further back, blended in the mix.

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Ben Sollee

Vocals – R-122
Cello – R-122

Recorded by Stephen Schauer
Recorded at Deep End Ranch, Santa Paula, CA.

Recording chain: All mics recorded straight into a Tascam HS-p82, at 96/24.

Recording notes:
One R-122 off the front of the cello, tipped up to bring the vocal into the mix.
For ambience, a spaced pair of Mojave Audio MA-101fets were positioned 5 feet back from the cello and above the frame of the A cam, set for omni and mixed back 6-7db, panned hard left and right.

Producer: Stephen Schauer
Camera: Jonathan Saunders, Lane Stroud, Stephen Schauer
Audio: Stephen Schauer

Letting Go (Ben Sollee)

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Marshall Ruffin

Vocals – R-122
Acoustic Guitar – R-122

Recorded by Stephen Schauer
Recorded at Deep End Ranch, Santa Paula, CA.

Recording chain: R-122 and MA-101fet’s recorded straight into a Tascam HS-p82 portable multi track recorder at 96/24.

Recording Notes:
One R-122 off the front of the acoustic guitar, positioned to balance the guitar and vocal.
For ambience, a spaced pair of Mojave Audio MA-101fets were positioned 5 feet back from the guitar, set for omni and mixed back 6-7db, panned hard left and right.

My Son (Marshall Ruffin)

MarshallPlay video

Producer: Stephen Schauer
Camera: Jonathan Saunders, Lane Stroud, Stephen Schauer
Audio: Stephen Schauer

Marshall Ruffin and Ben Sollee

Vocals – R-122
Cello – R-122
Acoustic Guitar – R-122

Recorded by Stephen Schauer
Recorded at Deep End Ranch, Santa Paula, CA.

Cellist Ben Sollee and guitarist Marshall Ruffin perform an impromptu duet during their visit to Deep End Ranch, Santa Paula, CA.

Recording chain: R-122 and MA-101fet’s recorded straight into a Tascam HS-p82 portable multi track recorder at 96/24.

Recording Notes:
The R122 is a great, rich, versatile mic. It’s the main pickup, positioned between Ben and Marshall. I used a pair of Mojave Audio MA-101fets in omni as a spaced pair just out of frame, mixed back 7 or 8db to give a sense of space. The room sounded a bit boxy, so I did everything I could by positioning the 122 so as to not wrestle with the room.
-Stephen Schauer

Marchall-and-Ben

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Producer: Stephen Schauer
Camera: Jonathan Saunders, Lane Stroud, Stephen Schauer
Audio: Stephen Schauer

Recording Electric Guitar Video Series with Ross Hogarth and Tim Pierce

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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.

 

Recording Electric Guitar, with Ross Hogarth and Tim Pierce. Session 1 of 8.
Divided by 13 amplifier into a Marshall 4-12 cabinet.

Introduction to blending a Royer Labs R-121 ribbon microphone with a Shure SM57 dynamic mic on electric guitar.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 2.
Marshall JCM 800 amplifier into a Marshall 4-12 cabinet.

R-121 and SM57 blend vs R-101 & SM57 blend

Two microphone blends are compared; a Royer Labs R-101 ribbon microphone and Shure SM57 dynamic mic, and a Royer R-121 ribbon microphone and Shure SM57 dynamic mic.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 3.
65 Blackface Fender Deluxe

session 3

Blending a Royer Labs R-121 ribbon microphone with a Shure SM57 dynamic mic on a combo amp.

 

Recording Electric Guitar with Ross Hogarth. Session 4.

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Microphone Placement Techniques

In this video, Ross demonstrates his dual microphone positioning techniques on a guitar cabinet, then uses an open speaker to clearly show where to put mics and why he likes these positions.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 5.
Supro combo with 15-inch speaker.

Session 5

Another example of blending a Royer Labs R-121 ribbon microphone and a Shure SM57 dynamic mic, this time on a beautiful Supro combo amp with a 15-inch speaker. Very nice, warm vibrato on this amp.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 6.
Diezel head into a Marshall 4-12 cabinet.

In this video with Tim playing drop-tuned guitar, we compare an R-121 & 57 blend and an R-101 & 57 blend on a cranked up Diezel head through a 4-12 Marshall cabinet.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 7.
Magnatone Stereo Combo Amp

Session 7

Ross uses the R-121 & 57 blend on a great old Magnatone stereo combo amp, with an SF-24 stereo ribbon microphone centered 1-ft back from the amp to capture excellent stereo guitar tones.

 

Recording Electric Guitar with Ross Hogarth & Tim Pierce. Session 8.
Supro combo with 6-inch speaker.

Session 8

This video of an R-121 ribbon microphone on a Supro combo amp shows the amazing tone and size you can get from properly miking a small amplifier.

 

Fiach and Tradalsa

Acoustic Guitar – R-121
Accordion – R-121
Electric Bass – R-121

Recording Engineer: Christy.
Recorded at Park Studios, Stockholm, Sweden.

Spaced R-121’s on an acoustic band.

Two R-121’s placed 5 feet apart on an acoustic band (guitar, accordion and electric bass) playing live in the studio. Acoustic guitar has slight amount of condenser mic blended in. No EQ or effects. Slight compression on final mix.

“Hornpipe” (Traditional)