Classical Guitar – SF-12
Producer, Steve Berlin. Engineer, Dave McNair.
Recorded at Sonora Studios, Glendale, CA.
SF-12 on a classical guitar in a large room.
“Vanidad”
Category Archives: R-121
Canaan
Acoustic Guitar (nylon and steel string) – R-121
Drum Overhead – SF-12
Vocals – R-121
Engineer – Kyle Homme. Producer – Shawn Sullivan.
Recorded in Pro Tools at World Class Audio, Anaheim, CA.
Backward R-121 on steel and nylon string acoustic guitars.
SF-12 on drum overheads.
Backward R-121 on vocals.
“Again” (©2000 Dan Sistos & Jevon McGlory)
a) Full Mix part 1 – emphasis on vocals and acoustic guitar
b) Full Mix part 2 – emphasis on nylon string guitar and drums
Shawn Sullivan
Acoustic Guitar – R-121
Engineer: Shawn Sullivan
Recorded in Pro Tools at World Class Audio – Anaheim, CA
Two tracks of acoustic guitar, each recorded with a backward R-121.
John March
Acoustic Guitar – R-121
Electric Guitar – Jazz, Blues – R-121
Recorded and performed by John March.
Recorded in Pro Tools at John’s home studio.
1) “Maya’s Other Dance” (©2000 John March)
Martin D-35 with a backward R-121 placed approximately 2 feet from the sound hole, slightly closer to the neck, 20 degrees off-axis.
2) Improv.
Strat through a Line-6 amplifier in a hallway (you hear some natural single-coil hum).
R-121 centered 18-inches from the speaker, 10-degrees off axis.
John Jennings
Comparison tracks
Acoustic Guitar – R-121, Backward R-121
Recorded by Jeff Gross
Recorded in Cubase at Studio 144, Tarzana, CA.
“Give Me A Reason” (John Jennings)
R-121 front side on Taylor 512, 8-inches off the 12th fret
“Give Me A Reason” (John Jennings)
Backward R-121 on Taylor 512, 8-inches off the 12th fret
Slash
Electric Guitar – R-121 & SM57
Recorded by Jim Mitchell
Recorded at Slashes home studio, Snakepit Studios.
R-121 & SM57 combined on a Marshall 4-12 cabinet with no EQ, effects, or compression.
A few years after Royer opened we visited Slash and recording engineer Jim Mitchell during a session. Slash’s Marshall was miked with an R-121 & SM57 and Slash was tearing it up – it sounded fantastic. I asked if they would give us a solo guitar recording of Slash for our first demo CD and Slash very kindly laid this one down for us.
Slash Soloed
Ross Hogarth – Various Isolated Tracks
B-3 – SF-24
Drums – R-121, SF-12
Drum Room – SF-12, R-121
Bongos – SF-24
Shakers – SF-24
Electric Guitar, Heavy Rock – R-121
Engineer/Producer Ross Hogarth was one of the first engineers to ever use a Royer ribbon microphone. He has a large collection of Royers, including early serial numbers of all of our models due to his beta testing everything we’ve ever made. Over the years his contributions have been numerous and invaluable and we count him among our closest of friends.
Ross gave us the following isolated tracks to help teach engineers what Royer ribbons are capable of doing in the studio.
1) Isolated B-3 from the Damon Castillo Band, recorded on an SF-24 stereo ribbon microphone.
B-3: SF-24 on top of the Leslie with a Heil PR-30 on the bottom.
Recording chain: SF-24 into a Great River MP-2NV preamp, PR-30 into a Chandler preamp.
Recorded by Ross Hogarth at Sunset Sound Factory, Hollywood, CA in 2007.
2) Kenny Aronoff playing drums. One compressed R-121, 3 feet high and 6 feet back from kit.
Recorded by Ross Hogarth at Rumbo Recorders – Canoga Park, CA, B-room.
3) John Molo – Various Drum Tracks
This is a drum session broken down into isolated tracks cut on various Royers, with a final mix of all the Royer mics that were used on the session. This mix does not include the other mics that were used on the kit for the final drum mix.
Recorded by Ross Hogarth
3 a) SF-12 in front of the kit
3 b) R-121 left and right, front of the kit
3 c) One R-121 in front of the kit
3 d) All Royer mics from 3a, 3b & 3c blended
4) Bongos and Shakers from the Ryanhood song “All Right” recorded on an SF-24 stereo ribbon microphone. SF-24 12-inches above bongos and 8 inches from shakers.
Recording chain: SF-24 thru Great River MP-2NV pre, to Crane Song HEDD converter.
Recorded by Ross Hogarth at Track Records, North Hollywood, CA in 2008.
Play Audio
5) Stereo rhythm distortion guitar bed. R-121’s on two Marshall 4-12 cabinets.
Recorded by Ross Hogarth in Pro Tools at Rumbo Recorders – Canoga Park, CA.
Andy Georges – Comparison Tracks
Electric Guitar – R-121
Comparison Tracks
Engineer: Dusty Wakeman
Recorded directly to 20-bit ADAT at Mad Dog Studios, Burbank, CA
a) One R-121 six inches from a guitar cabinet. Fender Stratocaster with single-coil pickups, into a Matchless amplifier with a Marshall 4-12 cabinet. At this distance you hear little or no room ambience.
b) Same Stratocaster/Matchless combination, with the R-121 three feet from the cabinet. The mic is three feet high and pointed directly at the cabinet. At this distance, the cabinet’s tone becomes more apparent and room ambience plays a more important role in the overall sound.
Loudmouth
Electric Guitar – Heavy Rock – R-121
Drum Room Mics – R-121
Engineered by Joe Barresi, Allen Sides and Johnny K. Produced by Joe Barresi and John Sullivan.
Recorded at Ocean Way Recording, Hollywood, CA / Bay 7, Valley Village, CA /
Groovemaster Studios – Chicago, IL.
From the Hollywood Records release “Loudmouth”.
R-121’s on electric guitars.
Two R-121’s as drum room mics.
1) “Rats In The Maze” (John Sullivan)
2) “Maybe” (Tony McQuaid)
3) “End Of The Century” (John Sullivan)
4) “No Heroes” (John Sullivan)
Marvelous 3
Electric Guitar – R-121
Engineered by Jerry Finn, Butch Walker and Joe McGrath. Produced by Jerry Finn.
From the Elektra Entertainment release “ReadySexGo”.
R-121’s on electric guitars.
a) “Beautiful” (Butch Walker )
b) “I Could Change” (Butch Walker)