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1. BB
in between takes. Engineer Terry Howard used a Neumann
M-49 for BB's vocal, with a backward Royer R-121 blended
in. Terry used a Neumann M-49 to record Ray's vocal. |
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2. BB's
guitar amplifier, a Fender Twin Reverb, was miked in an isolation
booth with a Shure SM-57 close on the amp and a Royer
R-121 about three feet back. |
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3.
The isolation booth before closing it up for tracking. |
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4. Billy
Preston's Leslie was miked with a Neumann U-47 FET on the
bottom and an R-121 up top. The additional upper mic in this
picture was not used. |
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5.
Jim Keltner's
kit. Terry had not used Royer's on the drums before, but he
tried an R-122 behind Jim's left shoulder and later said he
leaned on it heavily. |
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6. Close-up
on the R-122 behind Jim's shoulder. |
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7. Jim
Keltner and studio owner Allen Sides. |
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8. Tom
Fowler played electric and stand-up bass. Terry Howard put
his usual condenser mic of choice on the stand-up bass and
tried the phantom powered R-122 next to it. Terry's comment
in the control room was “This is the most dramatic
microphone comparison I've ever made,” then he told
the 2nd engineer to leave the R-122 in place and take the
condenser mic down. A good ribbon mic on a stand-up bass
really is an amazing sound |
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9. Tom
trying to get outta Dodge after the session. We didn't
get a chance to shoot the R-122 on Tom's stand-up bass,
but there's a good picture of the technique in our John
Fogerty session photos. |
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10. Guitarist
Irvin "Magic" Kramer lays down the rhythm guitar
track. BB King signed his Les Paul after the session! |
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11.
BB King and Terry after the the session wrapped up. |
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12. Terry
does the Royer shot! |
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