Recording - May 2012 - 28
How did you go about it? Was a lot of it in the playing itself? Yes. Sean O’Shea, the drummer, for example, who was in Fanny’s old band Orgone, is really into vintage drum sounds. In fact, some of the tracks they did ended up on Alicia Keys’ records, as well as Cee-Lo Green’s. The bassist, Tim Glum, a founding member of Orgone, is an old-school player from New York, and he’s really into Funk and R&B and Soul from the Stax Records and Motown eras. That was a big part of it. If you don’t have that feel, it doesn’t matter what you record on, it’s not really going to come through. The drums were crucial—how did you record them? I tried a few different kick-drum mics and it turns out my favorite now is the RE20 from Electro-Voice. It’s not a really subsonic mic, but it had that punch that, to me, sounded like what I was used to from old records. On the snare I could have used a regular Shure SM57, but I decided to use a Telefunken D-19, and it sounded almost like a 57, but just a different color. Then we used a Beyer M 160 ribbon mic as a single overhead. We went into three tracks, but with no panning, and went all mono for the drums.
And all of those were running into a TASCAM M-30 mixer from the late ’70s, which has a transformer-coupled preamp. This was one of the last mixers TEAC made with that feature. Then we went straight to the tape recorder. Tracks were then dumped into Apple Logic, and mixed and bounced down to a stereo mix, which was then recorded onto a TASCAM 32 stereo 1/4" mixdown deck. I did record the basic tracks into Logic as a backup as well, just in case I ran into problems with the tape. Any compression? Not on input, we just let the tape do the compression, so all the instruments went through the same path. How were the rest of the instruments recorded—bass, guitar, keys, and vocals? For bass, we originally used an AKG D-12 for the cabinet, miking it live in the room, but the bleed from the other instruments was hard to control, since we were all playing live. So for most of the tracks we used a Radial J48 DI. For the keys and guitars we did mike the amps in the room. I ran my guitar through a Dr-Z Maz 18 Jr. amp and miked it with a Sennheiser e609, which is a supercardioid dynamic. It’s great because it’s flat and it sits right up against the grille and doesn’t pick up much of the room. I kept the amp’s level as low as possible, and put some blankets around it. But it was in the room, and there was bleed, so when it came time to edit, I was very limited as to what I could do. I could comp whole sections if I needed to, like if I wanted an ending from a take but I’d have to take everything, because there would be
28
RECORDING MAY 2012
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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