Recording - October 2011 - 20

occasion I would mix the Haze and the POD together in the Yamaha mixer before sending it to the computer. I don’t keep extensive notes of how the signals are processed. I just go for what I like and vary things constantly as I’m recording. What about the acoustic? JB: The acoustic guitar is mostly my Fender 12-string electric/acoustic. It’s another magical guitar. Cost $250, but it sounds like a million. I recorded the 12-string with an SM57, and sometime mixed in a DI from the built-in pickup. I also played a Taylor 110 for a few things if I only wanted a 6-string sound. I strongly believe in doubling parts in real time, panned L and R for most of the guitars. AB: For my acoustic guitar I use a Blue Baby Bottle, around the 12th fret facing the soundhole. Tell us about the vocals. JB: My vocals were recorded with a RØDE NT2000 with a normal windscreen. No special processing. Albert and Dennis recorded vocals at Albert’s house. AB: I used a Neumann TLM 103. Please tell us about the drums. AB: I like a mic on each tom. I have a rack tom and two floor toms. On the rack I usually have some kind of a dynamic, maybe a Sennheiser, or one of my set of Audix mics, I like them a lot... For the floor toms I use the Audix D2. What about the kick? AB: We used a Shure Beta 52A on the kick. In the old days we used the AKG D12. But there are many ways now—I’ve used an Audix D6 with a Blue Bluebird for example. How did you place those? AB: The D6 inside the shell, and the Bluebird about a foot out front. At one time about three years ago I did what was more of a Jazz record, and the guy used a Neumann U 67 on the bass drum, about a foot in front, and it sounded amazing. What did you have on the snare?

AB: The snare had an SM57 on top and a 57 on the bottom. And you flipped the polarity? AB: Yes. For the hi-hat I used a Shure SM81. I have a tambourine attachment, the SM81 went underneath that and sort of pointing away, it captures mostly the top hi-hat. And overhead we had an Audio-Technica, one of their older models, the AT2020, a cardioid condenser. I had never used it before, and I liked it quite a bit. Please tell us about the mix. JB: I mixed the entire album in two studios, my own home studio and my neighbor, Marty Carlson’s studio, Barking Spider in Warren, CT. Barking Spider has the same computer program, MOTU Digital Performer, and the exact same speakers, Mackie HR824s. That way it made it easy to compare mixes in different studios. And what about mastering? JB: The recording was mastered at Masterdisk by Andy Van Dette. If there’s one area you can’t scrimp on it’s the mastering. He made the album sound professional and consistent. Many thanks to the both of you. The CD sounds great! JB: It’s easy to do reasonable recordings on the cheap these days. Of course having years of professional experience doesn’t hurt. Part of the ease of the process was that I’ve known my brother all my life, Dennis I’ve known almost as long. I understand where they are coming from musically, so we can almost do recordings by telepathy. AB: Thanks, and all the best!

The overdubs were exchanged on DVD discs. Other than the two days of basic tracks, most of the work for TOTT was done by mail, email or exchanging MP3s and discussing changes on the phone. Robby Krieger (of The Doors) did his parts by mail too. I’m not sure how they were recorded. My guess is a laptop. Tell me about the guitars I’m hearing— there are some deep and rich parts that never step on each other or on the bass...

Joe behind the gobo JB: All guitar parts were recorded in my home studio and I did all the engineering of those parts. Most of the electric guitars played on the album are from a ’62 Fender Strat Reissue. It’s a magical-sounding guitar. I also played my Fernandes Strat copy with Seymour Duncan pickups, a Fender Tele with Seymour Duncan pickups, and occasionally my Gibson ES335 Studio and an SG Custom. But 80% of the guitar sounds come from my Strat. What about the electric sounds, amps and so forth? JB: The amps I used were a Marshall Haze 15 Watt amp with 1x12, or a VOX Valvetronix VT50 50W 1x12 Guitar Combo Amp miked with a Shure SM57. Occasionally I would use a Line 6 POD version 1. On a rare
20
RECORDING OCTOBER 2011

Blue Coupe: www.bluecoupeband.com “You (Like Vampires)” video: www.bluecoupeband.com/BlueCoupeBand/ Movie.html Tish & Snooky: www.tishandsnooky.com and www.manicpanic.com Prime Time Sound: www.myspace.com/primetimestudiosny Barking Spider Studio: www.barkingspiderstudio.com/ Masterdisk: www.masterdisk.com


http://www.bluecoupeband.com http://www.bluecoupeband.com/BlueCoupeBand/ http://www.tishandsnooky.com http://www.manicpanic.com http://www.myspace.com/primetimestudiosny http://www.barkingspiderstudio.com/ http://www.masterdisk.com

Recording - October 2011

Table of Contents for the Digital Edition of Recording - October 2011

Recording - October 2011
Fade In
Contents
Talkback
Fast Forward
Postcards From The World Of Recording
Grace Design m103
Adobe Audition CS5.5
Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Blue Reactor Multi-Pattern Condenser Mic
Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Millennia Media HV-35 500-Series Mic Preamp
Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Pulse Techniques EQP-1A3
Audix CX212B Multi-Pattern Condenser Mic
A-Designs HM2 Compressor “The Nail”
It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Electro-Voice RE320 Dynamic Mic
Alesis iO Dock
Putting Together The Pieces
Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Readers’ Tapes
Advertiser Index
Fade Out
Recording - October 2011 - Recording - October 2011
Recording - October 2011 - Cover2
Recording - October 2011 - 1
Recording - October 2011 - Fade In
Recording - October 2011 - 3
Recording - October 2011 - Contents
Recording - October 2011 - 5
Recording - October 2011 - Talkback
Recording - October 2011 - 7
Recording - October 2011 - Fast Forward
Recording - October 2011 - 9
Recording - October 2011 - 10
Recording - October 2011 - 11
Recording - October 2011 - Postcards From The World Of Recording
Recording - October 2011 - 13
Recording - October 2011 - 14
Recording - October 2011 - 15
Recording - October 2011 - 16
Recording - October 2011 - 17
Recording - October 2011 - 18
Recording - October 2011 - 19
Recording - October 2011 - 20
Recording - October 2011 - 21
Recording - October 2011 - 22
Recording - October 2011 - 23
Recording - October 2011 - 24
Recording - October 2011 - 25
Recording - October 2011 - Grace Design m103
Recording - October 2011 - 27
Recording - October 2011 - 28
Recording - October 2011 - 29
Recording - October 2011 - Adobe Audition CS5.5
Recording - October 2011 - 31
Recording - October 2011 - 32
Recording - October 2011 - 33
Recording - October 2011 - 34
Recording - October 2011 - 35
Recording - October 2011 - 36
Recording - October 2011 - 37
Recording - October 2011 - Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Recording - October 2011 - 39
Recording - October 2011 - 40
Recording - October 2011 - 41
Recording - October 2011 - 42
Recording - October 2011 - 43
Recording - October 2011 - 44
Recording - October 2011 - 45
Recording - October 2011 - Blue Reactor Multi-Pattern Condenser Mic
Recording - October 2011 - 47
Recording - October 2011 - Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Recording - October 2011 - 49
Recording - October 2011 - 50
Recording - October 2011 - 51
Recording - October 2011 - Millennia Media HV-35 500-Series Mic Preamp
Recording - October 2011 - 53
Recording - October 2011 - Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Recording - October 2011 - 55
Recording - October 2011 - Pulse Techniques EQP-1A3
Recording - October 2011 - 57
Recording - October 2011 - Audix CX212B Multi-Pattern Condenser Mic
Recording - October 2011 - 59
Recording - October 2011 - A-Designs HM2 Compressor “The Nail”
Recording - October 2011 - 61
Recording - October 2011 - It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Recording - October 2011 - 63
Recording - October 2011 - 64
Recording - October 2011 - 65
Recording - October 2011 - Electro-Voice RE320 Dynamic Mic
Recording - October 2011 - 67
Recording - October 2011 - 68
Recording - October 2011 - 69
Recording - October 2011 - 70
Recording - October 2011 - 71
Recording - October 2011 - 72
Recording - October 2011 - 73
Recording - October 2011 - Alesis iO Dock
Recording - October 2011 - 75
Recording - October 2011 - Putting Together The Pieces
Recording - October 2011 - 77
Recording - October 2011 - Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Recording - October 2011 - 79
Recording - October 2011 - Readers’ Tapes
Recording - October 2011 - Advertiser Index
Recording - October 2011 - 82
Recording - October 2011 - 83
Recording - October 2011 - 84
Recording - October 2011 - 85
Recording - October 2011 - 86
Recording - October 2011 - 87
Recording - October 2011 - Fade Out
Recording - October 2011 - Cover3
Recording - October 2011 - Cover4
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