Recording day – Studio

So to follow on from the recording session at peel hall, after a quick snack, we went back to the newton studios and recorded guitars, percussion, synths, and vocals. This went shockingly well and if you want to find out about the performance side of this recording check out Niall’s post here:

Warning techy writing ahead. Turn back now.

So we started off with the guitar tracks which featured a clean tone. To capture all the detail in the tone I chose to use an SM57 with a Royer-121 on the front of the amp, just to the side of the dust cap on the cone. The reason I chose this combo was for the attack from the SM57 followed by the thicker more natural sounding Royer. I would like to stop for a moment to strongly recommend every studio gets at least one Royer ribbon mic as they are the best sounding high SPL ribbon around. The beauty of the Royer ribbon technology is that they offset the ribbon so that the microphone has a different tone depending on which side you use, the front giving you a more rounded tone and the ability to have higher SPL intake (135) and the rear of the mic having a much brighter sound. Of course, you must remember to phase reverse the signal when using the back of the mic else you will get a muddy comb filter effect. After dropping the Royer level in the mix it Micing the synthcomplements the SM57 really nicely. I can’t understand why people think the SM57 is enough on its own. Yes, it sounds good, but why have silver when you can win gold. And that’s what we have here. Gold

Next up we had the synth. Dom created a really nice patch which
I then ran through the Peavey keyboard amp. This adds thickness and warmth to the dry digital signal. I once again used the Royer to capture the tone so the signal sounds the same as we would hear it if we were in the room. I also use the Royer set up on the percussion to capture clean tones.

For vocals, I chose to use a u87 with an MD441 on top. This is a classic Micing the vocalscondenser/diaphragm setup used by most male singers such as ed Sheehan as the condenser captures a crystal clear sound with the dynamic mic adding thickness through the use of the proximity effect. When it comes to mixing a plan to use the Toft analogue desk to get a nice analogue warmth to the voice.


Recording Session #1

IMG_20170216_165106.jpgToday we had our first recording session. Here’s Niall drumming away at a jazz track we’re producing.

We thought we’d try out some new techniques – so far all of our recording projects have been fairly by-the-books.
We used an AKG414 about 30 cm away pointing at the kick drum to capture more air, and an Audix D6 slightly closer for the really low frequencies. In short, and in English – The bass drum was fat. We also did some other interesting things such as using an AKG214 for the snare and a C3000b as an underhead.  Henric, the studio manager, taught Andreas how to get nice sounding overtones from playing a cowbell, which may come in handy for our lounge-style song. We also found out we can de-rig a full microphone set-up for a drum kit (cable-management included) in about 10 minutes. Speedy stuff.

Why not check out our fresh sounds below…