Piano – SF-12 Stereo Ribbon
Engineer: Tommy Vicari
Recorded at Capitol Studios (B room), Los Angeles, CA
From The Majestic soundtrack.
Recording chain: One SF-12 through a Millennia preamp. EQ: 1 dB boost at 10K.
“Boogie Woogie Stomp” (Albert Ammons)
Accordion – SF-24
Piano – SF-24
Recorded and mixed by Charlie Paakkari. Produced and arranged by Richard Galliano.
Recorded at Capitol Studios, Studio B, Los Angeles, CA.
Recording chain: All mics into Neve 31102 preamps. No EQ or compression. Mic pre’s fed directly to Pro Tools at 88.2.
Accordion: One SF-24 and two Mojave Audio MA-100’s on accordion (mixed SF-24 70%, MA-100’s 30%).
Piano: One SF-24 and two U-67’s on piano (mixed 50-50).
The Musicians:
Accordion: Richard Galliano, Piano: Gonzalo Rubalcaba, Double Bass: Charlie Haden, Drums/Percussion: Mino Cinelu.
Recording & Business Affairs: Emmanuel Jolivet emmanuel.jolivet@free.fr
“Aurore” (Richard Galliano)
Piano – SF-24
Flute – SF-24
Engineer: Tony Faulkner. Producer: Jeremy Hayes.
Recorded in Potton Hall, Westleton, Suffolk, England.
Recording chain: Recorded on a SADiE LRX system using SADiE LXR preamps.
Piano & Flute: SF-24 main microphone. Subsidiary microphones: Rode NT-6 omnidirectionals flanking the SF-24 on stereo bar. Spacing between Rodes, 66cms.
Flute: Guy Eshed
Piano: Tim Horton
“Poulenc Flute Sonata 1st Movement” (Francis Poulenc)
Wind Orchestra – R-121
Recording Engineer: John La Grou (Millennia Media)
Recorded at the Crest Theater, Sacramento, CA.
Wind Orchestra: Live recording using two R-121’s spaced 22 inches apart.
Recording chain: R-121’s to Millennia HV-3B preamp, to Apogee AD-1000 A/D converter. Recorded to Masterlink.
“Sight for Wind Orchestra” (Sampo Haapamaki)
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)