Recording - October 2010 - 18

Now that I have everything I needed accounted for, it was time to doublecheck with everyone. At the risk of sounding like a pest, I emailed everyone involved in scheduling anything, again, to confirm what was planned, rented, reserved, rates, times—everything. Why go to all that trouble? If we got all the way over there and something was out of line, whose fault was it going to be? Exactly. Email also keeps everything in writing in case a problem arises over who was responsible for what, or how much something was supposed to cost. Aside from all that, and more importantly in my opinion, it’s also about not having to worry about anything when we get there, and focusing on the music.

So, since they are all used to playing together much like they would on stage (and I didn’t have a lot of time to experiment), I decided to put the rugs down on the back side of the room (Studio 2 has hardwood floors) and set them up the way they are used to playing. Also, one good footnote here: I really did have a couple of pre-conceived ideas and things I wanted to try in terms of

Bass was going direct, guitar amps miked (and DI) and facing in towards the center of the room. I also put up a mic for the occasional acoustic fiddle, an additional center-room mic and a ribbon at the top of the long staircase that goes up to the control room—for no other reason than to see what it sounded like. You don’t have to have a reason for everything, do you?

Old room—new gig Like a lot of engineers, I have read numerous accounts of how some of the historic rock bands were recorded in Studio 2. Setup, instrument placement, mic setup—all the usual fun trivia. But, when I walked into the room for the first time, all of that kind of went out the door. First of all, my job was not to make Gallus sound like someone else’s recording, it was to capture their sound.
18
RECORDING OCTOBER 2010

setup. But when I walked into that room for the first time, instinct kicked in and I went with what I knew rather than what may or may not work based on what I have heard. Everyone has their own sound/take on recording. When you’re on a tight schedule, I suggest to always go with your gut. Then take a step back, listen and adapt as needed. So in the end, the drums were set up in the back of the room with stereo room mics on the far other-end corners.

Let’s roll All the tracks were recorded at 24bit/88.2 kHz WAV through the Neve console with little to no compression. I also used the GML and Pultec eqs and the Fairchild 660. Once I got some sounds dialed in and the band was happy with the cue mix, I had them play a couple of songs while I sat back and just listened. I compared some different combinations of mics and began to get an idea of how all this was going to go down.



Recording - October 2010

Table of Contents for the Digital Edition of Recording - October 2010

Recording - October 2010
Fade In
Contents
Talkback
Fast Forward
Cakewalk V-Studio 20
Abbey Road Sessions—Good Reasons To Be Prepared
AKG Perception 820 Tube Microphone
A Basement Conversion—The Borla/Mouse Basement Studio
DAW Details
SM Pro Audio P-Control, DiDock, and CT-3
Green Glue
Alesis PalmTrack
It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Reviewed and Revisited
Plug-In Outlet
Do It Yourself: Rack Panels For Under Four Dollars
Cockos REAPER—A Walking Tour
Recording’s Showcase of Sounds
Readers' Tapes
Advertiser Index
Fade Out
Recording - October 2010 - Recording - October 2010
Recording - October 2010 - Cover2
Recording - October 2010 - 1
Recording - October 2010 - Fade In
Recording - October 2010 - 3
Recording - October 2010 - Contents
Recording - October 2010 - 5
Recording - October 2010 - Talkback
Recording - October 2010 - 7
Recording - October 2010 - Fast Forward
Recording - October 2010 - 9
Recording - October 2010 - Cakewalk V-Studio 20
Recording - October 2010 - 11
Recording - October 2010 - 12
Recording - October 2010 - 13
Recording - October 2010 - Abbey Road Sessions—Good Reasons To Be Prepared
Recording - October 2010 - 15
Recording - October 2010 - 16
Recording - October 2010 - 17
Recording - October 2010 - 18
Recording - October 2010 - 19
Recording - October 2010 - 20
Recording - October 2010 - 21
Recording - October 2010 - AKG Perception 820 Tube Microphone
Recording - October 2010 - 23
Recording - October 2010 - A Basement Conversion—The Borla/Mouse Basement Studio
Recording - October 2010 - 25
Recording - October 2010 - 26
Recording - October 2010 - 27
Recording - October 2010 - DAW Details
Recording - October 2010 - 29
Recording - October 2010 - 30
Recording - October 2010 - 31
Recording - October 2010 - SM Pro Audio P-Control, DiDock, and CT-3
Recording - October 2010 - 33
Recording - October 2010 - Green Glue
Recording - October 2010 - 35
Recording - October 2010 - Alesis PalmTrack
Recording - October 2010 - 37
Recording - October 2010 - It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Recording - October 2010 - 39
Recording - October 2010 - 40
Recording - October 2010 - 41
Recording - October 2010 - Reviewed and Revisited
Recording - October 2010 - 43
Recording - October 2010 - Plug-In Outlet
Recording - October 2010 - 45
Recording - October 2010 - 46
Recording - October 2010 - 47
Recording - October 2010 - Do It Yourself: Rack Panels For Under Four Dollars
Recording - October 2010 - 49
Recording - October 2010 - 50
Recording - October 2010 - 51
Recording - October 2010 - 52
Recording - October 2010 - 53
Recording - October 2010 - 54
Recording - October 2010 - 55
Recording - October 2010 - Cockos REAPER—A Walking Tour
Recording - October 2010 - 57
Recording - October 2010 - 58
Recording - October 2010 - 59
Recording - October 2010 - 60
Recording - October 2010 - 61
Recording - October 2010 - Recording’s Showcase of Sounds
Recording - October 2010 - 63
Recording - October 2010 - Readers' Tapes
Recording - October 2010 - Advertiser Index
Recording - October 2010 - 66
Recording - October 2010 - 67
Recording - October 2010 - 68
Recording - October 2010 - 69
Recording - October 2010 - 70
Recording - October 2010 - 71
Recording - October 2010 - Fade Out
Recording - October 2010 - Cover3
Recording - October 2010 - Cover4
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