Recording - February 2017 - 16
JEFF HAMILTON RECORDS
Again back to the consistency
question: after your first sessions
at BC, did you say, "OK, we're
always going to use this mic on the
cajon, this mic on the vocal..." or did
you just use what ever each studio
had on hand?
It was whatever the studio had.
We were on the road, so we weren't
carrying a mic package. We were at
their mercy...
Did you have a wish list to try to match
from studio to studio if you could?
Not necessarily, no. Keep in mind that
for many of the sessions, in Nashville for
instance, we played a show the night
before and I booked the studio a day
or two before that, because we couldn't
find one that was open at the time that
we needed it.
If I think about it, the one consistent
mic on the whole thing would be the
cajon, because John has his own mic in
there, which is a Shure SM91.
So just one mic on or in the cajon
rather than one in front and another
in the sound hole.
Since it is a condenser, the SM91 has
a full range on cajon, with a great low
end and the nice top click.
Mic Pre 1 into a Tube-Tech compressor,
and the tom was a Sennheiser MD421
into a dbx 160 compressor. Not sure
about the snare, again probably an
SM57. Invariably, what I found when
bringing all the tracks together was that
I would often just use the overhead, and
then add the snare mic in if it needed
just a little more presence or something.
What did you use on the altpercussion/snare drum kit?
How about Mr. Ritchie's bass,
which mimics an upright very well?
Generally I would mic just the snare
top. I wouldn't mic the bottom snare at all.
And then just a condenser or a ribbon as
an overhead. He was just playing snare
and a cymbal, and then they have what
they call their "transaphone", which is
basically an apple barrel flipped upside
down with a tom tom.
I don't remember which mics we used
at BC, probably Shure SM57s on the
snare and tom tom. At Brown Bear it
was drum a Coles 4038 into a Daking
Its a Mariachi type bass; it's his signature
thing. Again I don't remember what we
used at BC for anything, but it was always
two mics on the bass, on the neck and then
on the body. Generally, in that situation it's
more stacking than stereo; I'd use the neck
mic for the high end stuff and the body mic
for the low end. Then I'd filter out anything
on the neck mic that I wouldn't want coming
through on the low end mic, and vice versa.
In Nashville it was a Joly-modded
Oktava MK219 into a Universal Audio
Table of Contents for the Digital Edition of Recording - February 2017
Contents
Recording - February 2017 - Intro
Recording - February 2017 - Cover1
Recording - February 2017 - Cover2
Recording - February 2017 - 1
Recording - February 2017 - 2
Recording - February 2017 - 3
Recording - February 2017 - 4
Recording - February 2017 - 5
Recording - February 2017 - Contents
Recording - February 2017 - 7
Recording - February 2017 - 8
Recording - February 2017 - 9
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Recording - February 2017 - Cover3
Recording - February 2017 - Cover4
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