ericn
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Balance Engineer
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Post by ericn on Jul 24, 2018 21:09:55 GMT -6
i own a 224XL, a AMS RMX 16, and a ADL 670..... Also had a EMT stereo tube plate for many, many years, until I recently moved to this new location, had no place to put it. Paul you have gotten rid of more lusted after gear than most well ever touch no less own! Hell you have sold off more gear than cheap beers most of us drank in college, when we young stupid and poor. |
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Post by winetree on Jul 24, 2018 21:18:15 GMT -6
Without bringing the vintage Neumann tube mics out of the safe, My goto vocal mic chain for years was:
the 1960s Walley Heider San Francisco u87s > original neve 1073 > original urea La-3a. I'd have clients come in for just that vocal sound.
The Neumann tube mics would go through the Boulder Jensen Dual servo preamp. The clean preamp brings out the sound of the tube mics.
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Post by Deleted on Jul 27, 2018 9:54:37 GMT -6
My thoughts for pleasant acoustic recordings (I'm sure few will agree): -Don't record with mics that are titled to the high-end (especially vocals). Go darker or neutral. -Avoid all plugins except for reverb -Don't use compression at all -Get pro help with learning to best use reverb -Use clean preamps, like Grace (even the Portico 511 is pretty clean) Here's a 44 on vocals, 84's on guitar, Grace pres into RME:
It sounds great, but they are definatley using compressors here.. For a start the song isn't quiet and when you gain stage everything to around -18dB it would be, secondly he keeps moving his head off axis but the levels are staying similar.
Sure it could of been fader ridden but you'd still notice from mic bleed or the off axis response and you'd notice even on mic's with awesome diffuse-field response ala U89i.. It sounds like the effect of an opto / STA..!
On a side note I think stereo mic'ing acoustics is the way to go, I know many swear by double tracking / single mic'ing but I get a lot of boom that way.. A bit of phase isn't always a bad thing, especially when it removes clutter from the low end like in this vid.!
Love the AEA R44, that was a very well done track.!
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Post by happychap on Jul 27, 2018 10:38:29 GMT -6
My thoughts for pleasant acoustic recordings (I'm sure few will agree): -Don't record with mics that are titled to the high-end (especially vocals). Go darker or neutral. -Avoid all plugins except for reverb -Don't use compression at all -Get pro help with learning to best use reverb -Use clean preamps, like Grace (even the Portico 511 is pretty clean) Here's a 44 on vocals, 84's on guitar, Grace pres into RME:
It sounds great, but they are definatley using compressors here.. For a start the song isn't quiet and when you gain stage everything to around -18dB it would be, secondly he keeps moving his head off axis but the levels are staying similar.
Sure it could of been fader ridden but you'd still notice from mic bleed or the off axis response and you'd notice even on mic's with awesome diffuse-field response ala U89i.. It sounds like the effect of an opto / STA..!
On a side note I think stereo mic'ing acoustics is the way to go, I know many swear by double tracking / single mic'ing but I get a lot of boom that way.. A bit of phase isn't always a bad thing, especially when it removes clutter from the low end like in this vid.!
Love the AEA R44, that was a very well done track.!
That sounds like a reasonable assessment. Now, when it comes to stereo/multi-mic'ing acoustic, I think Phil (Harris, the engineer here), did a great job with phase/stereo spread. It's an art form- I personally dislike any strange phase or super-stereo on acoustic. When it's not done exactly right, it evokes motion-sickness when listening on headphones. But that damn instrument is hard to capture with one mic. |
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Post by rowmat on Jul 27, 2018 15:01:45 GMT -6
That's cool mic stand rowmat. The stand itself, which is out of frame, is actually a C-Stand used for lighting. |
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Post by geoff738 on Jul 27, 2018 15:12:09 GMT -6
Just found out it was an SSL board, at Wessex studios. Wonder when they got that. In 1970 they installed a Neve A88 and in 75 put a 32x24 Cadac desk in the control and remix rooms and a 3M 24 track M79. Outboard included Neve, Urei and dbx limiters, Urei and Orban eqs, Marshall time modulators (?), Eventide flangers and harmonizers (in 75?). other stuff done there includes Never mind the Bollocks, Pretenders, early King Crimson and Queen, London Calling and many punk and post punk stuff like Boomtown Rats. All this from the book Great British Recordings Studios. It doesn’t go into great detail after that except that it closed in 2003. No mention of a plate, but that certainly could have been added before Pete went in there. Cheers, Geoff |
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Post by Martin John Butler on Jul 28, 2018 9:53:23 GMT -6
I was looking at so many links, I've forgotten where I read about the SSL. I did see a Cadac mentioned in some places too. Ward said this earlier: "Sounds nothing like a plate to me, but sounds identical to preset 16 (if memory doesn't fail me) on my old AMS room simulator". I have a suspicion he may be right.
Also, there was mention somewhere of a Fairchild. I was impressed in the 2nd verse of "Save it for Later" how smooth the compression was when Pete started really hitting it hard. I don't know the Fairchild sound well, but maybe that's why?
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