Category Archives: Engineer

Jamie Laval & Ashley Broder – Full Mixes and Isolated Tracks

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Mandolin – SF-24 (one side of microphone only), R-122V
Fiddle – R-122V

1) “The Bridge of Cally” (Jamie Laval)

Engineer: Jay Manneschmidt

Instruments recorded live, within 6 ft of each other, with separation achieved by using microphone’s null points.

Recording chain: SF-24 and R-122V through Gordon preamps, into Lavry Gold A/D converters and recorded into Sequoia/Samplitude at 88.2 KHz. No EQ used.

1 a) Full Mix

 

 

1 b) Mandolin
Mandolin: SF-24 (only one side used, for a mono recording) twelve inches from mandolin, pointed at the 12th fret.

 

 

Violin
Violin: R-122V twenty-two inches away from violin, slightly above the strings and 45 degrees left of center from the “F” holes.

 

 

2) “Levantine’s Spinning Barrel” (Laval, Broder)

Engineer: Peter Cutler.

Recorded during live broadcast on the Los Angeles radio show FolkScene.

Mandolin & Fiddle: Two R-122V’s; one in front of the mandolin (pointing at neck/body joint) and one above the fiddle. The null points of each mic were positioned to reject bleed, giving each instrument isolation from the other while being played in close proximity. (See photos)

 

 

 

Devotchka – Full Mix and Isolated Tracks

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Violin – R-122V
Strings – R-122V

Recorded and mixed by Craig Schumacher
Recorded at Wavelab, Tucson, AZ.

Recording chain: R-122V’s into True Systems preamps. no compression or EQ. Recorded to Pro Tools.

“Transliterator” (Devotchka, Urata)

a) Full Mix

 

 

b) Isolated Violin: Stereo pair of R-122V’s over a violin

 

 

c) Isolated String Section: Stereo pair of R-122V’s over a string section.

Calexico – Full Mix and Isolated Tracks

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Acoustic Guitar – R-122V
Cello – R-122V

Recorded and mixed by Craig Schumacher
Recorded at Wavelab Studio, Tucson, AZ.

Recording chain: all mics to True Systems preamps. Recorded to Pro Tools.

“Falling From Sleeves” (Burns, Convertino)

a) Full Mix

 
 

b) Acoustic Guitar: R-122V aimed where the acoustic guitar neck joins the body. Rotated slightly so the null point was pointed at the sound hole to cut down on bass.

 
 

c) Cello: R-122V looking down at the cello’s F hole above the bridge, 10 inches away.

Sonny Landreth – Full Mix and Isolated Tracks

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Live Electric Guitar – R-121

Engineer: Tony Daigle
Recorded live at Grant Street Dancehall, Lafayette LA.

Recording notes: Neve, UREI, API, Manley, Amek and PreSonus preamps. Recorded to Otari RADAR system with Nyquist converters.

Special thanks to Dave Klausner for getting us this track.

“Wind In Denver” (Sonny Landreth)

a) Live club mix

 

b) R-121 (close miked) & KM185 (at 3 ft) on a Dumble Overdrive Special amp

 

c) The R-121 in “b” alone

 

d) The KM185 in “b” alone

 

e) R-121 & 421 (both close miked) on Matchless DC30 amp

 

f) All four microphones combined (R-121 & KM185 on Dumble and R-121 & 421 on Matchless)

 

 

 

Kings X – Full Mixes and Isolated Tracks

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Electric Guitar – R-121
Drums Overheads – SF-12

Produced, engineered & mixed by Michel Wagener.
Recorded at Wireworld Studio, Nashville, TN.

Recording chain: All R-121s into Chandler TG2, TG Channel, and Germanium preamps. All preamps mixed to one bus, to Crane Song HEDD, to Euphonix AM713 A/D converter. Recorded to Steinberg Nuendo.

1) “Broke” (Kings X)

a) Full Mix

 

b) Electric Guitar: two R-121’s on a Randall 4-12 stereo guitar cabinet. (See photos)

 

c) Electric Guitar: two R-121’s on a Randall 4-12 stereo guitar cabinet and an R-121 three inches from a Randall RM-20 small combo amp. (See photos)

 

2) “I Don’t Know” (Kings X)
Two R-121’s on a Randall 4-12 stereo guitar cabinet. (See photos)

 

3) “Move” (Kings X)
Two R-121’s on a Randall 4-12 stereo guitar cabinet and an 121 three inches from a Randall RM-20 small combo amp. (See photos)

 

 

Coal Chamber – Full Mixes and Isolated Tracks

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Electric Guitar – R-121
Drum Rooms – R-121

Produced, engineered and mixed by Ross Hogarth.
Recorded at Rumbo Recorders, Canoga Park, CA.

All tracks recorded to ProTools at 48K.

1) “Rowboat” (Casey, Daniels, French)

a) Full Mix

 

b) Electric Guitars: R-121, SM-57 and 421 clustered on one 4X12 cabinet speaker.
Recording chain: R-121 to V72 Telefunken tube pre, SM-57 and 421 to Trident console preamps.

 

c) Drum rooms: R-121 & Coles 4038 blended. Coles 2 ft back from kit, 121 five ft back from kit.
Recording chain: R-121 and 4038 to Trident console preamps, to Chandler EMI compressor. Recorded to ProTools at 48K.

 

 

 

 

Keith Urban – Partial Live Mix and Isolated Drums

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Drums, Live – SF-24

FOH Engineer: Steve Law   Monitor Engineer: Jason Spence
Recorded live at the Gwinnett Center, Gwinnett, GA

Drummer: Chris McHugh.

“I Told You So” (Keith Urban)

a) Partial live mix showcasing drums

 

b) Isolated Drum Overhead: SF-24 over kit, to Yamaha PM1D to Pro Tools. Clocked using Apogee Big Ben @ 48K.

 

 

 

Matchbox Twenty in Concert – Live Mix & Isolated Tracks

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Live Electric Guitar – R-121 Live

Recorded & mixed by FOH Engineer Jim Ebdon.
Recorded live at Melbourne Entertainment Center, Australia.

Recording chain: R-121’s into Digico preamps, via coax into Euphonix MADI converter into Digi192 Pro Tools. Recorded flat, no compression.

“Push” Live (Matt Serletic, Rob Thomas)

a) Full Mix

 

b) Electric Guitars: four cabinets (two cabs per guitarist) miked with R-121 Live mics.

 

 

Melissa Etheridge – Full Mix & Isolated Tracks

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Electric Guitar – R-121
Drums Room – R-121

Produced, recorded and mixed by Ross Hogarth
Recorded at NRG Studios, North Hollywood, CA.

Recording chain: All R-121’s into Neve 1073 preamps. Drum room R-121 compressed with Chandler EMI.

“Mercy” (Etheridge, Taylor)

 a) Full Mix

 

b) Electric Guitars: one guitar miked with an R-121 and SM-57 blended. The wah-wha guitar is miked with an R-121 on a single 1-12 cabinet.

 

c) Mono Drum Room: R-121 five ft in front of kit, 3 1/2 ft high.

 

Jim Lauderdale – Full Mix & Isolated Tracks

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Dobro – R-121

Produced, recorded and mixed by Randy Kohrs
Recorded at Slack Key Studio, Nashville TN.

Recording chain: R-121 and Mojave Audio MA-200 through V-72 Telefunken preamps, high passed at 128 (no other eq). Mild 2 to 1 compression with Kjaerhus Gold compressor.  Recorded to Nuendo 3.

“This Is the Last Time (I’m Ever Going to Hurt)” (Blackmon, Lauderdale)

a) Full Mix

 
 

b) Isolated Dobro: miked with backward R-121 left position and Mojave Audio MA-200 right position, 8 inches from the guitar for depth.

 
 

c) Full Mix, Section 2:

 

d) Isolated Dobro: miked with backward R-121 left position and Mojave Audio MA-200 right position, 8 inches from the guitar for depth.