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
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)
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 back side 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)
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)
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.
“Mother”
“Faso Den”
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.
Kick Drum – R-121
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.
Trumpet – R-122, SF-24V
Piano – SF-24V
Recorded at Sweetwater Studios, Ft. Wayne IN
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)
