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.
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.
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.
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)
Engineers: Steve Barker and Peter Cutler
Recorded live at the studios of the FolkScene radio show.
These three exceptional recordings were made during a live performance for radio broadcast on FolkScene in Los Angeles.
While listening to The Wailin’ Jennys rehearsing, the engineers decided that the best performance would come from letting the group play live with no headphones, essentially mixing themselves in the process. One SF-24 stereo ribbon microphone was placed in the center of the room. Two singers were positioned left and right of the front side of the mic at a distance of 24-inches, and the third singer was positioned at the center of the back side of the mic at a distance of 18-inches. An R-122 was added to the Bodhran in “Saucy Sailor.”
An excellent stereo image was created by the left-center-right positioning of the musicians. No panning, mixing, or overdubs were done.
Recording chain: SF-24 and R-122 into VacRack tube preamps, to two VacRack limiters (3 dB limiting), to Mackie 1604 VLV Pro mixer. 1.5 dB of the Mackie’s high end EQ was added, the Mackie’s 75 Hz high pass filter was engaged, and some Lexicon reverb was added. The Mackie outputs were fed to the analog inputs of an HHB CD recorder.
Recorded and Mixed by George Seara
Recorded at Phase One Studios, Toronto, Canada.
Record Label: Alert Music / Koch.
Recording chain & notes: See below
“Waters of March” (Jobim) a) Full Mix
b)Piano: Isolated SF-24 at the curve of the piano pointed towards the middle.
Two U-87s (not heard in this isolated SF-24 track) were positioned close to the piano strings, spaced low and high over the strings. The final mix blend was 70% SF-24, 30% U-87.
Recording chain: SF-24 to API 212L mic preamps into Apogee AD16 A/D converter.
c) Acoustic Guitar:Isolated R-122 on the guitar neck.
A Calrec 1050C (not heard in this isolated acoustic guitar track) was also used on the body of the guitar, blended slightly.
Recording chain: DW Fearn VT-2 mic preamps into UA 2192 A/D converter.
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.
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.
