In the Mix Track List and Recording Notes ROYERS IN

Royer - In The Mix Track List and Recording Notes

ROYERS IN THE MIX

1) Introduction

2) Stephen Bruton “Bigger Wheel” (Anderson, Bruton) Recorded & mixed by Ross Hogarth. Produced by Ross Hogarth and Stephen Bruton. Drums, Resonator Guitar, Harmonica. a) Mix b) Mono Drum room: R-121 five ft in front of kit, 3 1/2 ft high, compressed with Chandler EMI. c) Resonator guitar: R-122 in front, with a U-67 over the shoulder. d) Harmonica: Shure Green Bullet mic on harmonica to tweed Vibrolux. R-121 on Vibrolux amp. All mics through Neve 8088 board preamps. Recorded to Pro Tools HD. Recorded at Mad Dog Studios, Burbank, CA, in 2005

3) Brian Setzer “Honey Man” (Adaptation of Nikolai Rimsky-Korsakov) Producer, Dave Darling. Engineer, John Holbrook. Electric Guitars, Drums. a) Mix b) Guitar solo: Gretch 6120, Supro amp. R-121 8 inches back and centered on the speaker, and SM57 off axis, on the grill, 2 inches from cone center. Mic preamps: Neve 1066ís (SM57 fed into an 1176 limiter after the pre). c) Rhythm “thump” guitar: Gretch 6120, 59 Bassman amp. One R-121, 2 1/2 ft in front of the amp. Mic preamp: Neve 1066 Drum Overheads are two R-122’s into Martech preamps. Recorded to Pro Tools EXL. Band recorded at Capitol Studios, Los Angeles CA. Guitars and vocals recorded at Flowers Studio, Minneapolis MN.

4) Jim Lauderdale “This Is the Last Time” (I’m Ever Going to Hurt) (Blackmon, Lauderdale) Produced, recorded and mixed by Randy Kohrs Dobro a) Mix b) Dobro miked with backward R-121 left position and Mojave Audio MA-200 right position, 8 inches from the guitar for depth. Both mics 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. c) Mix d) Dobro Recorded at Slack Key Studio, Nashville TN, on March 27, 2007.

5) Melissa Etheridge “Mercy” (Etheridge, Taylor) Produced, recorded and mixed by Ross Hogarth Electric Guitars & Drums. a) Mix b) Electric Guitars: one guitar miked with R-121 and SM-57 blended. Wah-wha guitar miked with R-121 on single 1-12 cabinet. Both mics to Neve 1073 preamps. c) Mono Drum room: R-121 five ft in front of kit, 3 1/2 ft high, to Neve 1073 pre and compressed with Chandler EMI. Recorded at NRG Studios, North Hollywood, CA, in 2003.

6) Matchbox Twenty in concert “Push” (Matt Serletic, Rob Thomas) Recorded & mixed by FOH Engineer Jim Ebdon Live Electric Guitars: a) Mix (rough concert mix for Royer demonstration purposes) b) Electric Guitars: four cabinets (two cabs per guitarist) miked with R-121 Live mics into Digico preamps, via coax into Euphonix MADI converter into Digi192 Pro Tools. Recorded flat, no compression. Recorded at Melbourne Entertainment Center, Australia, April 24, 2008.

7) Keith Urban “I Told You So” (Keith Urban) FOH Engineer: Steve Law, Monitor Engineer: Jason Spence Drummer: Chris McHugh Live Drums. a) Partial live mix showcasing drums. b) Drum Overhead: SF-24 Live over kit, to Yamaha PM1D to Pro Tools. Clocked using Apogee Big Ben @ 48K. Recorded live at the Gwinnett Center, Gwinnett, GA. April 2008

8) Stephen Bruton “Treasured Wounds” (Barber, Bruton) Recorded & mixed by Ross Hogarth. Produced by Ross Hogarth and Stephen Bruton. B-3 & Electric Guitar. a) Mix b) B-3: SF-24 two ft in front of Leslie to Great River MP-2NV preamp. c) Electric Guitar: R-121 on tweed Vibrolux, to Neve 8088 board pre to 1176 compressor. Recorded to Pro Tools HD. Recorded at Mad Dog Studios, Burbank, CA. 2005

9) Coal Chamber “Rowboat” (Casey, Daniels, French). Produced, engineered and mixed by Ross Hogarth Electric Guitars & Drums. a) Mix b) Electric Guitars: R-121, SM-57 and 421 clustered on one 4X12 cabinet speaker. 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. Both mics to Trident console preamps, to Chandler EMI compressor. Recorded to ProTools at 48K. Recorded at Rumbo Recorders, Canoga Park, CA, in 2001.

10) Kings X “Free” (Kings X) Produced, engineered & mixed by Michel Wagener. Electric Guitars. a) Mix b) Electric Guitar: two R-121s on a Randall 4-12 stereo guitar cabinet. c) Electric Guitar: two R-121s on a Randall 4-12 stereo guitar cabinet and an 121 three inches from a Randall RM-20 small combo amp. 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 Recorded at Wireworld Studio, Nashville, TN, January/February 2007

11) Sonny Landreth “Wind In Denver” (Sonny Landreth) Engineer: Tony Daigle Live Electric Guitar. 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). Neve, UREI, API, Manley, Amek and PreSonus preamps. Recorded to Otari RADAR system with Nyquist converters. Recorded live at Grant Street Dancehall, Lafayette LA, Spring 2005 Special thanks to Dave Klausner

12) Calexico “Falling From Sleeves” (Burns, Convertino) Recorded and mixed by Craig Schumacher Cello & Acoustic Guitar. a) 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 F hole above the bridge, 10 inches away. All mics to True Systems preamps. Recorded to Pro Tools Recorded at Wavelab Studio, Tucson, AZ. September 2007

13) Devotchka “Transliterator” (Devotchka, Urata) Recorded and mixed by Craig Schumacher Violin and String Section. a) Mix b) Stereo pair of R-122Vs over a violin c) String Section: Stereo pair of R-122Vs over a string section. R-122Vs into True Systems preamp, no compression or EQ, and recorded to Pro Tools. Recorded at Wavelab, Tucson, AZ, July 2007

14) Jamie Laval & Ashley Broder “The Bridge of Cally” (Jamie Laval) Engineer: Jay Manneschmidt Violin & Mandolin. a) Mix b) Mandolin on Left: SF-24 (left channel only) 12 inches from mandolin, pointed at the 12th fret. Violin on Right: R-122V 22 inches away from violin, slightly above the strings and 45 degrees left of center from the "F" holes. Both mics through Gordon preamps, into Lavry Gold A/D converters and recorded into Sequoia/Samplitude at 88.2 KHz. No EQ used. Instruments recorded live, within 6 ft of each other, with separation achieved by using micís null points. Recorded at Jay Manneschmidt’s private studio, Knoxville, TN. April 2008

15) String Quartet - Microphone comparisons. Engineer: Ron Searles Strings, mic comparison. A cluster of one SF-24, two R-122's, two R-122V's, and two Schoeps CMC6-U’s (set for omni) were set up 6 ft high and about 8 ft back from a string quartet. All mics fed into Universal Audio 8110 preamps. Recorded flat with no EQ or compression to ProTools at 96K. a) Single SF-24 b) Pair of R-122s c) Pair of R-122Vs d) Pair of Schoeps CMC6-Us Recorded in CBC Studios, Toronto, Canada, February 2007 Special thanks to Dave Dysart, HHB Canada.

16) Holly Cole “Waters of March” (Jobim) Recorded and Mixed by George Seara. Record Label: Alert Music / Koch Piano & Acoustic Guitar. a) Mix b) Piano: SF-24 at the curve of the piano pointed towards the middle. (In the mix the engineer added two U-87s close and spaced low and high over the strings. 70% SF-24, 30% U-87 used in the final mix.) API 212L mic preamps into Apogee AD16 A/D converter. c) Acoustic Guitar: R-122 on the neck. (In the mix the engineer added a Calrec 1050C on the body). DW Fearn VT-2 mic preamps into UA 2192 A/D converter. R-122 on electric guitar. Recorded at Phase One Studios, Toronto, Canada, August 2006

17) Allen Toussaint “That’s My Home” (Sydney Robin) Recorded and mixed by Kevin Killen. Producer: Joe Henry Piano & Upright Bass. a) Mix. b) Piano: SF-24 positioned at the edge of the piano lid, middle of the piano. Mic into Neve 8088 console preamps. 1 dB boost at 16K using Millennia NSEQ-2 stereo equalizer in tube setting. c) Upright Bass: R-122V on upright bass into Neve 8088 console preamps. 1/2 dB boost at 12K using a Pultec EQP-1A, and 1 dB compression. Recorded to ProTools. Recorded at Avatar Studios, New York, NY, March 2008

18) Gordon Goodwin “Backrow Politics” (Gordon Goodwin) Recorded and mixed by Tommy Vicari Brass. a) Mix b) Trumpet solo: R-121 on soloist. c) Mix. d) Brass & Sax Section: Eight R-121s on trumpets & trombones, and SF-24 room mic. e) Brass & Sax Section: SF-24 room mic. All Royer mics through Millennia HV-3D preamps. SF-24 room mic through HV-3D preamp to GML EQ with 3 dB boost at 10K. Recorded to Pro Tools HD. Recorded at Bill Schnee Studios, North Hollywood, CA, in 2008

19) Dirty Dozen Brass Band “What’s Going On” (Benson, Cleveland, Gaye) Recorded and mixed by Clint Bennett. Produced by Anthony Marinelli & Shawn Amos. Trumpet, Trombone, Electric Guitar a) Mix b) Trumpet & Trombone: R-121 on trumpet and R-122 on trombone. c) Electric Guitars: R-121 on electric guitars. All mics into Neve VR console preamps. Recorded to Pro Tools HD at 96k. Digi 192 converters at Westlake Studios and Apogee converters at Music Forever. Recorded at Westlake Studio D, Los Angeles CA, Feb 2006. Additional recording and all mixing at Music Forever.

20) Dirty Dozen Brass Band “Flyin’ High” front mix. (Gaye, Stover) Recorded and mixed by Clint Bennett. Produced by Anthony Marinelli & Shawn Amos. Brass, Winds, Drums, Percussion. a) Mix b) Saxophone: R-121 on saxophone (See track 20 for recording notes.)

21) Dirty Dozen Brass Band “Flyin’ High” ending mix. (Gaye, Stover) Recorded and mixed by Clint Bennett. Produced by Anthony Marinelli & Shawn Amos. Brass, Winds, Drums, Percussion, Vocals. a) Mix b) Vocals, Claps, Percussion: One SF-24 with musicians gathered around it. c) Horn Stem: R-121s and R-122 on various horns. d) Drums: SF-12 on drum overhead, low and towards the front of the kit. e) Sousaphone: R-122 on sousaphone.

Mic preamps were Neve VR console preamps at Westlake and API console preamps at Bismeaux. Recorded to Pro Tools HD at 96k. Digi 192 converters at Westlake and Bismeaux, and Apogee converters at Music Forever. Recorded at Westlake Studio D (Los Angeles, CA) and Bismeaux Studio (Austin, TX) Feb & March, 2006. Additional recording and all mixing at Music Forever. Special thanks to Shout Factory for the use of these recordings.

22) VOCALS

The Wailin’ Jennys a) “Saucy Sailor” (Traditional) b) “Ten Mile Stilts” (Nicky Mehta) c) “One Voice” (Ruth Moody) Engineers: Steve Barker and Peter Cutler Vocal Trio: One SF-24 on a trio (with an R-122 on the bodhran in Saucy Sailor). Both mics into VacRack tube preamps, to two VacRack limiters (3 dB limiting), to Mackie 1604 VLV Pro mixer. 1.5 dB of the Mackie’s top end was added, the Mackie 75 Hz high pass filter was engaged, and Lexicon reverb was added. Mackie outputs to analog inputs of HHB CD recorder. No panning, mixing or overdubs. The stereo image was created by the positioning of the musicians. Recorded live for “Folk Scene,” a Los Angeles radio show. Broadcast September 2004. Wailin' Jennys Session Photos d) Balkan Babes “More, Moma Bega, Lele” (Traditional from Macedonia) Recorded and mixed by Russell Dawkins 12 piece vocal group: SF-12 on a 12 piece vocal group. SF-12 into True Systems preamp (45 dB gain), into Metric Halo Mobile I/O 2.8.8.2 +DSP into Mac Powerbook G4. Singers positioned on front and back of the mic, 6 ft from the mic. Recorded in The Belfry theatre in Victoria, BC, Canada. Spring 2007

23) ACOUSTIC INSTRUMENTS

Paul Galbraith a) “Presto from Piano Sonata #2 in F major” (Mozart) b) “Bajo La Palmera” (Isaac Albeniz) Recorded and mixed by Al Schmitt Classical Guitar: Two R-122Vs as main mics on solo classical guitar, approximately 3 ft high, 30 inches apart and 3 ft back from the guitarist. AKG C-12ís as room mics and Sennheiser MKH- 800’s as ambient mics. All mics into Upstate Audio preamps and direct to Pro Tools HD at 24/192. Recorded at Capitol Studios (Studio A), Hollywood, CA. March 2007. c) LAGQ “Mas Que Nada” (Spanish Lyric Version - Jorge Ben/Emily Cranz) Peer International Corp. (BMI) Recorded & mixed by Robert Friedrich Acoustic Guitar & Flute: Four guitars recorded with four R-122Vs. Mics 1 to 2 ft from guitars. One R-121 on flute, at 1 ft distance. All mics fed to AEA TRP mic preamps, then directly to Sonoma DSD recorder. (console was bypassed) Recorded at Skywalker Sound Studios, Nicasio, CA, March 2007 d) Andy Georges “My guitar is on Fire” (Andy Georges) Recorded and mixed by Andy Georges Acoustic Baritone Guitar: Recorded with an SF-24 ten inches from the 12th fret, and piezo pickup. SF-24 into a Royer custom built class A tube preamp, and piezo into a Motu 828 preamp. (SF-24 80%, piezo 20% in the mix.) Compression on mic and piezo. High shelving roll-off on piezo starting at 4K. Recorded into Digital Performer. Recorded at Andy’s home studio, 2007 e) Tim Weed “Granada Vox” (Tim Weed) Engineers: Jeff Rodenkirch, Phil Lipman Banjo: Two R-122’s (with U87 windscreens) on banjo, into Great River MP-2NV mic preamps. One U47 5 ft away and pointed into corner baffles, into a Buzz Audio MA-2.2 preamp. Recorded to 2” tape at 30 ips. Recorded November 2004 f) Jamie Laval & Ashley Broder “Levantine's Spinning Barrel” (Laval, Broder) Engineer: Peter Cutler. Mandolin & Fiddle: Two R-122Vs; 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 even while playing in close proximity. Recorded live in the studios of the Los Angeles based radio show FolkScene. Recorded and broadcast in May, 2008.

24) ELECTRIC GUITAR a) Rascal Flatts “Life is a Highway” (Tom Cochrane) Recorded and mixed by Justin Niebank. Produced by Dan Huff. Electric Guitar: R-121 & SM57 on electric guitars, close miked. Mics into Neve 8078 console preamps (31105). Recorded to Pro Tools HD at 24/48. Recorded at Blackbird Studios, Studio A. November, 2004 b) Mark Knopfler “Why Aye Man” (Mark Knopfler) Recorded & mixed by Chuck Ainlay Electric Guitar: Guitars recorded with an R-121 & SM57 on two separate speakers of a Marshall cabinet, close miked. Both mics through Neve 1073 preamps. Recorded to Nuendo through Mytek converters. Recorded at The Tracking Room, Nashville, TN. Guitar overdubs recorded at AIR Studios, Lindhust Hall. January 2002. Kings X c) “I Don’t Know” (Kings X) d) “Move” (Kings X) Produced, engineered & mixed by Michel Wagener. Electric Guitar: Two R-121s on a Randall 4-12 stereo guitar cabinet and an 121 three inches from a Randall RM-20 small combo amp. 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 Recorded at Wireworld Studio, Nashville, TN, January/February 2007 e) Tony Furtado “These Chains” (Tony Furtado) Engineer: Dusty Wakeman Electric Guitar, Acoustic Guitar, Drums: Close miked R-121 and SM57 side by side on electric guitar. 50-50 blend in the mix. API 312 preamps. Drums - SF-12 four ft high and 5 ft in front of kit through Neve 1272 preamps. R-121 and M-149 on acoustic guitar, to John Hardy M-1 preamps. 50-50 blend of mics. Mics positioned head to head, off 14th fret. Recorded to Pro Tools Mix Plus system Recorded at Mad Dog Studios, Burbank, CA, in 2004

25) BRASS

Arturo Sandoval from “Trumpet Evolution” a) “Manteca” (Dizzy Gillespie, Fuller, O'Farrill, Pozo) b) “Concerto for Cootie” (Duke Ellington) c) “My Funny Valentine” (Hart, Rodgers) Engineer: Al Schmitt, Co-producer: Gary Grant Trumpet, Brass Section, Drums, Room: R-122 on solo trumpet. Eight R-121s on brass section. SF-12 on drum overhead. SF-12 room mic. All mics through an assortment of Mastering Lab, Neve and Studer valve mic preamps. Recorded to Pro Tools Recorded at Capitol Studios (Studio A), Hollywood, CA. November 2002 d) Malcolm McNab “Saloon Music for Bb Cornet and Pit Orchestra” (Bruce Broughton) Produced, recorded and mixed by Gary Grant Trumpet, Brass, French Horn, Bass Trombone: RCA 10001 spot mic and SF-24 room mic on Solo trumpet (RCA 60%, SF-24 40% in the mix). RCA into a UA 2-610 tube preamp, SF-24 into a Millennia HV-3D preamp. Brass, French Horn and Bass Trombone recorded on R-122s with SF-24 room mic. 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. Recorded at Midlothian Recording Studio, Pasadena, CA. 2006

26) WIND INSTRUMENTS a) Alan Meyerson “Scoregasm” music library Recorded and mixed by Alan Meyerson Woodwind Section: Two R-122Vs on woodwind overheads. Neve 1081 preamps to Apogee 8016 converters to Pro Tools HD. No eq or compression. Recorded at Air Studios, Lyndhurst Hall, London, England. July 2008 b) California Wind Orchestra “Sight for Wind Orchestra” (Sampo Haapamaki) Recording Engineer: John La Grou (Millennia Media) Wind Orchestra: Live recording using two R-121s spaced 22 inches apart. R-121s to Millennia HV-3B preamp, to Apogee AD-1000 A/D converter. Recorded to Masterlink. Recorded at the Crest Theater, Sacramento, CA. February, 2002

27) PIANO, ACCORDION & B-3 a) Poulenc Flute Sonata 1st Movement (Poulenc) Engineer: Tony Faulkner. Producer: Jeremy Hayes.† Piano & Flute: Main microphone: Royer SF-24. Subsidiary microphones: Rode NT-6 omnidirectionals flanking SF-24 on stereo bar. Spacing between Rodes, 66cms. Recorded on a SADiE LRX system using SADiE LXR preamps. Recorded in Potton Hall, Westleton, Suffolk, England. 2008 Flute: Guy Eshed Piano: Tim Horton b) Richard Galliano “Aurore” (Richard Galliano) Recorded and mixed by Charlie Paakkari. Produced and arranged by Richard Galliano. Piano & Accordion: One SF-24 and two Mojave Audio MA-100s on accordion (mixed SF-24 70%, MA-100s 30%). One SF-24 and two U67s on piano (mixed 50-50). All mics into Neve 31102 preamps. No EQ or compression. Mic pre’s direct to Pro Tools at 88.2. Recorded at Capitol Studios, Studio B, Los Angeles, CA. April, 2008 Recording & Business Affairs - Emmanuel Jolivet - [email protected] Accordion: Richard Galliano Piano: Gonzalo Rubalcaba Double Bass: Charlie Haden Drums/Percussion: Mino Cinelu Recording & Business Affairs: Emmanuel Jolivet [email protected] c) Jim Cox “Boogie Woogie Stomp” (Albert Ammons) From The Majestic soundtrack. Engineer: Tommy Vicari Piano: One SF-12 through a Millennia preamp. EQ, 1 dB boost at 10K. Recorded at Capitol Studios (B room), Los Angeles, CA, in 2001 d) Paul Cantelon “Preludes” (Paul Cantelon) Theme from The Diving Bell & the Butterfly Engineer: Russell Dawkins Piano: SF-12 on Steinway 9’ grand piano - aimed at center of the soundboard, 9 ft from the soundboard and 6.5 ft above stage. SF-12 into True Systems Precision 8, to a DA-38. Recorded at Phillip T. Young Recital Hall in the School of Music, U of Victoria. November 26, 2000 e) Damon Castillo Band - Isolated B-3 track Engineer: Ross Hogarth B-3: SF-24 on top of the Leslie with a Heil PR-30 on the bottom. SF-24 into a Great River MP- 2NV preamp, PR-30 into a Chandler preamp. Recorded at Sunset Sound Factory, Hollywood, CA, in 2007

28) STRINGS a) Holly Brook “All Will Be Forgotten” (Brook) Engineered and mixed by Ross Hogarth Cello: One R-122 into an API console pre. No compression or EQ. One cellist played all parts. Recorded to Pro Tools HD. Recorded at Stagg Street Studio, Van Nuys, CA, in 2006. Cellist: Cameron Stone b) “Julian & Rita” (Anthony Marinelli & The Graves Brothers) For the film “The Human Contract” Recorded, co-produced and mixed by Clint Bennett. Co-produced by Anthony Marinelli. String Section: SF24 (main mic) and two R-122s (supporting mics) on strings. All mics to Amek Media 51 console preamps, to Apogee conversion @ 48k. Recorded to Pro Tools HD. Recorded at Studio Smecky, Prague, April 2008

29) DRUMS, PERCUSSION

Pirates of the Caribbean (Hans Zimmer) Score recorded and mixed by Alan Meyerson a) Isolated drum tracks excerpted from the Pirates of the Caribbean score. Three drummers playing simultaneously with an R-122V over each kit (kick drum mics added). b) Same track, with room mics added. R-122Vs to Grace 801 preamps. Recorded to Pro Tools HD using Digi 192 converters. Recorded at Sony Scoring Stage, Culver City, CA. May 4, 2006 Drummers: Vinnie Colaiuta, Abe Laboriel Jr., JR Robinson c) Mark Holdaway “Star Hop” (Mark Holdaway) Recorded and mixed by Tim Weed Kalimba: Two R-122Vs used on four tracks of Kalimba. Used slightly off axis 6”-10” from small Kalimbas. Two R-122Vs on Bass Kalimba, one at 6" centered for proximity effect and one 5’ directly above. All mics to Prism Orpheus preamps and A/D at 24/96 into Digital Performer 5.13. No EQ or compression. Recorded at Banjambo Studio, May 2008 d) Eliane Elias “The Song Is You” (O.Hammerstein II, J.Kern) Vocals and percussion recorded by Bruce Swedien. Mixed by Bruce Swedien. Shaker: Two R-122s in Blumlein, 12 inches from a shaker, to UA 2-610 preamp. EQ: hi pass filter set at 100Hz, 1 dB push at 5K and 1 dB at 10K. Recorded to Pro Tools. Vocals and shaker recorded at Westviking Studios, Ocala, FL, 2005 Ryanhood All Right e) Various SF-24 Tracks recorded by Ross Hogarth Bongos & Shakers - SF-24 thru Great River MP-2NV pre, to Crane Song HEDD converter. SF-24 12 inches above bongos and 8 inches from shakers. Recorded at Track Records, North Hollywood, CA, in 2008 Percussionist: Kenny Aronoff.