Mix - December 2011 - (Page 16)
Music > Carole King
NO ALLUSION ABOUT AURALEX
When Allusion Studios (Tucson, Ariz.; allusionstudios .com) head engineer Jim Pavett made the call to overhaul the space—including the control room, live/drum room, vocal booth, iso spaces and lounge—he logged onto Auralex’s site to ﬁll out the Room Analysis Plus service. This program allowed him to download an audio ﬁle with a swept sine signal from 20 to 20k Hz. Pavett then recorded the sweep with an omnidirectional measurement mic and forwarded it, with the Personalized Room Analysis Form, direct to Auralex for examination. With results in hand, Pavett brought in a slew of Auralex products. For the 20x20-foot console-less control room (tube pre’s, comps and mic pre’s directed through Lynx converters and Nuendo), Pavett installed ELiTE PRoPanels placed at the front of the mix position and on both of the side walls. ELiTE CT45 bass traps were put in the corners, while SonoFiber was installed on the ceiling above the mix position. On the back wall is Auralex WavePrism. Inside the 22x18-foot live/drum room, a range of ELiTE ProPanels were placed throughout all four drywall’ed walls and ceiling; bamboo KeyPacs were fastened on top of several of the panels to tune the ab-
Mother and daughter at work in the studio: Louise Goffin (left) and Carole King
out of it as I could. And then in Chanukah Prayer,” was proLINER NOTES her vocal chain, we would go to duced in producer/composer Engineers: Nathaniel a GML 2020 through the GML Lee Curreri’s studio, Universe of Alford, Niko Bolas, Lee vocal channel, and we’d use that Soul (Pacific Palisades, Calif.), but Curreri, Saro Daghlian, Eric Denniston, Jeff Eden as a mic pre and a filter. most of the tracking happened Fair, Lars Fox, Steve “The whole thing was recordeither in Studio D at The Village Genewick, Nathaniel ed with no compression,” Kunkel (West L.A.), where Goffin also Kunkel, Ian MacGregor, Seth Presant, Jossip continues. “We kept it really has a long-term lock on a personSerrano, Scott Smith, open and natural, and addressed al room, or in Allen Sides’ Record Jussi Tegelman that stuff in mixing so the One (Sherman Oaks, Calif.). Producer: Louise Goffin Mixer: Kunkel recording process was extraordi“I think the thing that made Mastering: narily organic. I had Class-A mic this record come out so nice is Stephen Marcussen pre’s and good microphones, and that it was a very traditional kind very little EQ.” of approach,” Kunkel observes. “It Kunkel could not clear his isn’t that we didn’t build tracks off of piano/vocal overdubs, but we did that when schedule for every session, though; while he was the piano/vocal overdub was just too spectacular tracking a new Lyle Lovett album, Niko Bolas not to use. For the most part, it was like, ‘This is handled a few of the tunes, including Booker T. the song; let’s get some great musicians together Jones’ upbeat soul song “Every Day Will Be Like and tell them about our vision for it, and let’s go a Holiday.” “He made the horns on that sound in the studio and cut it.’ Almost all of the tunes are like a great old Stax record,” Kunkel says of Bolas’ real band-in-the-studio recordings.” contribution. “It sounded fantastic!” Kunkel recorded to Pro Tools at 96k, usually Kunkel and Goffin mixed on an Avid ICON, via the Neve 88R board in Village D. The sessions mostly in Kunkel’s Studio Without Walls, but took place in bursts over the course of two years, also in KMA Music in Times Square. Kunkel’s but Kunkel always found the right Neumann U67 monitors of choice are either JBL LSR models or mic. “If the studio didn’t have one, we would rent ATC 25s. However, he humbly insists that equipone,” he says. “We would gravitate toward stock- ment is beside the point when you’re working diaphragm U67s—not modified stuff—because with an artist like King. on her voice I wanted to get as much richness “It’s like the first experience I had recording James Taylor,” he says. “I was so nervous and worried about it, and then he got in front of a more online 57 and started singing, and I went, ‘Oh, I see, it Watch a video doesn’t matter what I put in front of him.’ We of King on the can convince ourselves as engineers that we play making of this album. such a major role in the way records sound, and mixonline.com/ then somebody like Carole King walks up to a december_2011. piano and plays and sings, and you go, ‘Oh, I see… There’s really nothing I can do to mess this up!’”
sorption treatment to be more eﬀective in the low and midrange while not killing oﬀ the higher frequencies. Bamboo QuadraTecs are also dispersed throughout the space. Under the drum kit is HoverDeck, the results of which Pavett says, “We notice a lot more ‘punchiness’ on the drums; just a little bit more controlled and to the point.” Throughout the 9x7-foot vocal booth are 4-inch Studiofoam Wedges, Cornerﬁll Cubes and LENRD bass traps. The entire studio renovation was ﬁlmed for a twopart educational DVD called The Studio Edge: Pro Audio Recording Series. The ﬁrst DVD delves into the physics of sound and overall studio concepts, and the second DVD was focused on building a studio and acoustics, which involved all the renovations made at the studio. The DVD is expected to be released later this year.
M I X | D E C E M B E R 2 0 1 1 | mi x o n l i ne. com
Table of Contents for the Digital Edition of Mix - December 2011
Mix - December 2011
From the Editor
On the Cover
Carole King's Holiday Album
News and Notes
Classic Tracks: George Harrison ''Got My Mind Set on You''
Cheap Trick Do ''Dream Police''
Event Live Expo, ALMA Event
News and Notes
All Access: Mastodon
The Art of Flight in 7.1
New 500 Series Microphone Preamps
Miranda Lambert’s Four the Album
Bon Iver Live
Ask Eddie: Great Education Expectations
Review: Bax EQ
Review: Lindell Audio 17X compressor/limiter
Review: Neumann KH 120A studio monitors
TechTalk: What's In Your Ears?
Mix - December 2011