Recording - May 2012 - 26
Some of my friends had started getting back into tape recording and had been coming out with some very exciting recordings. So I thought this idea would just be a great way to go: Tracking first to tape, but then dumping into a DAW and still having that initial sound that we loved, and then being able to take advantage of all the modern editing and plug-ins. So over the last year and a half I started getting some tape decks. The TEAC 80-8, a 1/2" 8-track, became the main deck. And now, with your own songs on Get Wet—have you found your own voice and comfort zone? Yes—I wrote the music for the album Get Wet so that I could be completely comfortable singing in the style that most fits my voice. I wanted to make a record that would express who I am, and make people feel good. Congratulations on a fine project—we’ll now turn to Jason Gutierrez to explore how it came together. For this particular project, was it the goal from the very beginning to make it sound like it was from another era? Fanny had recorded on tape with her previous band, Orgone, and so they had a sound established. She liked that sound but she also wanted it to be a little more modern; they really went for a very dirty retro sound, and almost lo-fi. So we wanted to have some of that old-school warmth, but it’s almost a novelty at a certain point if you go too far with it. We wanted it to sound somewhat fresh, and I think the liveperformance aspect was something we were after, too.
The Producer/Engineer
Jason, what inspired the decision to go for a vintage sound and use tape? Jason Gutierrez: I started out recording on 4-track and 8track cassettes, and eventually on a reel-to-reel. Then, when I built my first computer, I abandoned tape recording... but I always missed it.
26
RECORDING MAY 2012
What did you miss the most about tape? Tape seems to make things sound better, or more interesting. When you record digitally, it seems to be just an absolute exact copy of whatever sound you have, whereas the tape colors everything in a way. It’s kind of like analog film. When you take a picture with real film, it looks cooler than it did in real life, so I think there’s something similar with analog recording; it makes the sound more interesting than what it was in the first place.
Recording - May 2012
Table of Contents for the Digital Edition of Recording - May 2012
Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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