Woodwinds – R-122V
Recorded and mixed by Alan Meyerson
Recorded at Air Studios, Lyndhurst Hall, London, England.
Woodwind Section: Two R-122V’s on woodwind overheads.
Recording chain: R-122V’s to Neve 1081 preamps to Apogee 8016 converters to Pro Tools HD. No eq or compression.
From Alan Meyerson’s “Scoregasm” Music Library recordings.
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)
Brass – R-121, R-122, SF-12
Trumpet – R-121, R-122
Trombone – R-121
Drum Overhead – SF-12
Room Mic – SF-12
Engineer: Al Schmitt, Producer: Gary Grant
Recorded at Capitol Studios (Studio A), Hollywood, CA.
Recording chain: All mics routed through an assortment of Mastering Lab, Neve and Studer tube mic preamps. Recorded to Pro Tools
One R-122 on Arturo Sandoval’s solo trumpet
Four R-121’s on the trumpets
Four R-121’s on the trombones
SF-12 overall big band room mic
SF-12 drum overhead
1) “Manteca” (Dizzy Gillespie, Fuller, O’Farrill, Pozo)
2) “Concerto for Cootie” (Duke Ellington)
3) “My Funny Valentine” (Hart, Rodgers)
Electric Guitar – R-121
Drum Room – SF-12
Acoustic Guitar – R-121
Engineer: Dusty Wakeman
Recorded at Mad Dog Studios, Burbank, CA
Recording chain Electric Guitar: Mics into API 312 preamps to Pro Tools.
Close miked R-121 and SM57 on guitar cabinet, mics blended 50-50 in the mix.
Recording chain Drums: SF-12 into Neve 1272 preamps, recorded to Pro Tools.
SF-12 four ft high and 5 ft in front of kit.
Recording chain Acoustic Guitar: Mics into John Hardy M-1 preamps, recorded to Pro Tools.
R-121 and Naumann M-149 positioned head to head off the 14th fret. Mics blended 50-50 in the mix.
Recorded to Pro Tools Mix Plus system.
“These Chains” (Tony Furtado)
Electric Guitar – R-121
Recorded & mixed by Chuck Ainlay
Recorded at The Tracking Room, Nashville, TN. Guitar overdubs recorded at AIR Studios, Lindhust Hall.
Electric Guitar: Guitars recorded with an R-121 & SM57 on two separate speakers of a Marshall cabinet, close miked.
Recording chain: R-121 & SM57 mics through Neve 1073 preamps. Recorded to Nuendo through Mytek converters.
“Why Aye Man” (Mark Knopfler)
Electric Guitar – R-121
Recorded and mixed by Justin Niebank. Produced by Dan Huff.
Recorded at Blackbird Studios, Studio A.
Recording chain: Mics into Neve 8078 console preamps (31105). Recorded to Pro Tools HD at 24/48.
Electric Guitar: R-121 & SM57 on electric guitars, close miked.
“Life is a Highway” (Tom Cochrane)
Banjo – R-122
Engineers: Jeff Rodenkirch, Phil Lipman
Two R-122’s on banjo, with one U87 5 feet away and pointed into the corner baffles.
Recording chain: R-122’s into Great River MP-2NV mic preamps. U87 into a Buzz Audio MA-2.2 preamp. Recorded to 2-inch tape at 30 ips.
“Granada Vox” (Tim Weed)
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.
Acoustic Guitar, Classical – R-122V
Flute – R-121
Recorded and mixed by Robert Friedrich
Recorded at Skywalker Sound Studios, San Rafael, CA.
Acoustic Guitar: Four guitars recorded with four R-122V’s. Mics 1 to 2 ft from guitars.
Flute: One R-121 on flute, at 1 ft distance.
Recording chain: All mics fed to AEA TRP mic preamps, then directly to Sonoma DSD recorder (console was bypassed).
“Mas Que Nada” (Spanish Lyric Version – Jorge Ben/Emily Cranz) Peer International Corp. (BMI)
Classical Guitar – R-122V
Recorded and mixed by Al Schmitt
Recorded at Capitol Studios (Studio A), Hollywood, CA.
Recording chain: All mics into Upstate Audio preamps and direct to Pro Tools HD at 24/192.
Classical Guitar: Two R-122V’s as main mics on solo classical guitar, approximately 3 ft high, 30 inches apart and 3 ft back from the guitarist. AKG C-12’s as room mics and Sennheiser MKH-800’s as ambient mics.
a) “Presto from Piano Sonata #2 in F major” (Mozart)
b) “Bajo La Palmera” (Isaac Albeniz)